Full text of "Photoplay (Jan - Jun 1934)"

See other formats

■ ■.'*>•■■• ■'-'■■.'■''

•».■'■'.:

f Museum of Modern Art

Scanned from the collection of

The Museum of Modern Art Library

Coordinated by the

Media History Digital Library
www. mediahistoryproj ect . org

Digitized by the Internet Archive

in 2012 with funding from

Media History Digital Library

http://archive.org/details/photo46chic

$1500°° Prize Winners in

5. CENTS

50 Cents in Canada

111

anrom ^^^

Daddies or rue S

JOAN
CRAWFORD

you 5,000,000

TO GET MARRIED

Qfotvs Qjour Sorealn ^Coday Y

5,000,000 young women become of marriage-
able age this year... How many 01 them, we
wonder, will make the grade?

One thing is certain; they can't exf>ect to
attract and hold men it they have halitosis (un-
pleasant breath). It nullifies every other charm.

Everyone is likely to have halitosis at one
time or another. vV hen that time comes, you
won t realize it, because halitosis does not
announce itself to its victim.

vJ hy risk offending, when Listerine will
f>ut you on the safe side?

Simply rinse the mouth with it. Every morn-
ing and every night, and between times before
meeting others. Listerine instantly halts fer-
mentation, the cause of QO% of mouth odors;
then gets rid of the odors themselves. The
breath becomes sweet and agreeable.

USE LISTERINE BEFORE ALL SOCIAL ENGAGEMENTS

Photoplay Magazine for January, 1934

&L:

£/£ FUR COAT COST HUNDREDS OF DOLLARS . . . BUT HER TEETH
LOOK DINGY, HER GUMS ARE TENDER . . . AND SHE HAS "Pink Tooth Brush"!

Do you suppose that this young
woman, so smart in her fur coat and
debonair hat, would go to a luncheon in
dirty old gloves ripped at the seams?
Or in shabby shoes a bit down-at-the-
heels ?

Yet her dingy teeth are just as conspic-
uous— and just as disappointing! — as
dog-eared gloves or shabby shoes could
ever be!

She brushes her teeth just as faithfully
as you do. But she has yet to learn that
if your gums are soft, with a tendency to

bleed, you could brush your teeth seven
times a day without restoring their right-
ful heritage of sparkle.

YOUR GUMS, AS WELL AS YOUR TEETH,
NEED IPANA

Today's soft, creamy foods, failing to ex-
ercise the gums, fail also to keep the gums
hard. And flabby gums soon show signs
of tenderness. You find "pink" upon your
tooth brush.

It's serious — "pink tooth brush." Not
only may it dull your teeth, but it may

be the first step toward gingivitis, Vin-
cent's disease, or pyorrhea. The soundest
among your teeth may be endangered!

Follow the advice of dental authorities:
massage your gums. Do this by putting a
little extra Ipana on your brush after you
have cleaned your teeth, and rubbing it
into those inert gums.

Brighter — your teeth? You'll see! Soon
you'll be pleasantly surprised in the im-
provement in your gums, too. They'll be
harder, healthier. And you can begin to
feel safe from "pink tooth brush."

THE "IPANA TROUBADOURS" ARE BACK! Afc

EVERY WEDNESDAY EVENING, 9.00, E. S.T.
WEAF AND ASSOCIATED N. B. C. STATIONS

IPANA

TOOTH PASTE

BRISTOL-MYERS CO.. Dept.I-14
73 West Street, New York, N. Y.

Kindly send me a trial tube of IPANA TOOTH
PASTE. Enclosed is a three-cent stamp to covet
partly the cost of packing and mailing.

Name

Street

City State

Photoplay Magazine for January, 1934

ft STAR TRIUMPH/

Now Comes the Year's Most Celebrated Hit!

• MARIE DRESSLER
•JOHN BARRYMORE
•WALLACE BEERY
•JEAN HARLOW

• LIONEL BARRYMORE

• LEE TRACY

• EDMUND LOWE

• BILLIE BURKE

•MADGE EVANS •KAREN MORLEY
•JEAN HERSHOLT •PHILLIPS HOLMES

DINNER

"DINNER AT 8" flames with
drama . . . the fallen mat-
inee idol . . . the millionaire's
frivolous wife. ..the amorous
doctor of the idle rich . . .
stolen hours of romance
. . . each thrilling episode
played by a great STAR!
No wonder it was Broad-
way's advanced -price film
sensation for three months.
It is YOURS with a thousand
thrills NOW!.

OTO

The World's Leading Motion Picture Publication

Vol. XLV No. 2

Kathryn Dougherty, Publisher

January, 1934

Winners of Photoplay
Magazine Gold Medal for
the best picture of the year

"HUMORESQUE"

1921

"TOL'ABLE DAVID"

1922

"ROBIN HOOD"

"THE COVERED WAGON"

"ABRAHAM" LINCOLN"

"THE BIG PARADE"

1926

"BEAU GESTE"

1927

"7th HEAVEN"

1928

"FOUR SONS"

1929

"DISRAELI"

1930

"ALL QUIET ON THE
WESTERN FRONT"

1931

"CIMARRON"

1932

"SMIL1N' THROUGH"

Information and
Service

Brickbats and Bouquets 8

Hollywood Menus .... 87

Questions and Answers ... 90

Addresses of the Stars . . . 113

Casts of Current Photoplays . . 11<>

High-Lights of This Issue

Close-Ups and Long-Shots Kathryn Dougherty 25

Phantom Daddies of the Screen V. L. Wooldridge 28

The Amazing Story Behind Garbo's Choice of Gilbert Virginia Maxwell 32

On the "Queen Christina" Set 34

How Sylvia Changed Ruth Chattcrton's Nose and Figure . Sylvia 36

Do Screen Stars Act Like Human Beings? . . Henry M. Fine 38

Cal York's Monthly Broadcast from Hollywood 46

Merry Ex- Wives of Hollywood Saba Hamilton 50

Seymour— Photoplay's Style Authority 61

Pinch Hitters That Came Through Ruth Rankin 69

Winners of $1,500 for Movie Muddles 72

"The Bowery" Premiere 74

Star News from London Kathlyn Hayden 76

Photoplay's Hollywood Beauty Shop . . . Carolyn Van Wyck 81

Photoplay's Famous Reviews

Brief Reviews of Current Pictures 6

The Shadow Stage 56

Personalities

Twenty Years After By Fredric March as told to Cromwell MacKechnie 30

"I'll Be at Doc Law's" Kihtley Baskette 31

And Now Taps Sound for Tex ! Nina Remen 40

Look Out, Jack, for "Ma"! Sara Hamilton 45

Katharine Hepburn's Inferiority Complex . . Virginia Maxwell 52

A Pair of Wuppermanns Judith Stone 54

Constance Bennett o5

The Clown Who Juggled Apples Jim Tully 60

Lilian Harvey and Gene Raymond 71

Buster Keaton . 78

Design for Acting Ruth Rankin 79

On the Cover — Joan Crawford — Painted by Earl Christy

Published monthly by the Photoplay Publishing Co.

Publishing Office, 919 N. Michigan Ave., Chicago, 111. Editorial Offices, 221 W. 57th St., New York City

The International News Company, Ltd.. Distributing Agents, 5 Bream's Building, London, England

Kathryn Dougherty,

President and Treasurer

John S. Tuomey, Vice-President Evelyn McEvilly, Secretary

Yearly Subscription: $2.50 in the United States, its dependencies, Mexico and Cuba; S3.50 Canada; $3.50 for foreign countries. Remittances

should be made by check, or postal or express money order. Caution— Do not subscribe through persons unknown to you.

Entered as second-class matter April 24, 1912, at the Postoffice at Chicago, 111., under the Act of March 3, 1879.

Consult this pic-
ture shopping
guide and save
your time, money
and disposition

Brief R

eviews o

L^urrent Pictures

•jf Indicates photoplay was named as one of the best upon Us month of review

ACE OF ACES — RKO-Radio. — Richard Dix in a
not-so-hot wartime aviation story. (Dec.)

• ADORABLE — Fox. — Janet Gaynor in a gay,
tuneful puff-ball about a princess in love with
an officer of her army. Henry Garat's the officer —
and he's a hit I Don't miss it. (Aug.)

AFTER TONIGHT— RKO-Radio.— Connie Ben-
nett's a Russian spy in love with Austrian officer
Gilbert Roland; fast, exciting. (Dec.)

AGGIE APPLEBY, MAKER OF MEN— RKO-
Radio. — Country-boy Charles Farrell is made into a
tough mug by bad-lady Wynne Gibson. Bill Gargan.
You'll laugh and like it. (Dec.)

ALIMONY MADNESS— Mayfair Pictures.— A
badly butchered attempt to show up the alimony
racket. (July)

ANN CARVER'S PROFESSION— Columbia.—

Fay Wray shows her competence aside from horror
stuff, as a successful lawyer married to Gene Ray-
mond. Gene gets into trouble; Fay must save him.
Acceptable entertainment. (Sept.)

• ANN VICKERS— RKO-Radio.— Irene Dunne
in a finely acted tale of a social worker who
loves but doesn't marry. Walter Huston, Bruce
Cabot. Strictly for sophisticates. (Dec.)

• ANOTHER LANGUAGE — M-G-M. — A
slow-moving but superbly acted story of a bride
(Helen Hayes) misunderstood by the family of hubby
Bob Montgomery. The late Louise Closser Hale
plays the dominating mother. (Oct.)

ARIZONA TO BROADWAY— Fox.— Joan Ben-
nett, Jimmie Dunn, and a good cast, wasted in a
would-be adventure yarn about slicking the slickers.
(Sept.)

AVENGER, THE— Monogram.— Adrienne Ames
and Ralph Forbes wasted on this one. (Dec.)

BEAUTY FOR SALE— M-G-M.— An amusing
tale about the troubles of girls who work in a beauty
shop. Una Merkel, Alice Brady, Madge Evans,
Hedda Hopper, others. (Nov.)i

BED OF ROSES — RKO-Radio. — Ex-reform
schoolgirls Connie Bennett and Pert Kelton out
to beat life. Not for kiddies. (Aug.)

BELOW THE SEA— Columbia.— A Fay Wray
thriller; caught in a diving bell on a deep-seas ex-
pedition this time. Diver Ralph Bellamy to the
rescue. Good underseas shots and good fun. (Aug.)

• BERKELEY SQUARE— Fox.— As subtly
done as "Smilin' Through"; Leslie Howard
thrown back among his 18th century ancestors.
Heather Angel. (Sept.)

BEST OF ENEMIES— Fox.— No great comeback
for Buddy Rogers; he and Marian Nixon reconcile
quarreling papas Frank Morgan and Joseph Caw-
thorn. (Sept.)

BIG BRAIN, THE— RKO-Radio.— Clever and
fast, except in the climax. George E. Stone climbs
from barber to phony stock magnate. Reginald
Owen, Fay Wray. (Aug.)

BIG EXECUTIVE— Paramount.— Ricardo Cor-
tez, Richard Bennett, Elizabeth Young, wasted in
another of these stock market tales. Weak storv.
(Oct.)

BITTER SWEET— United Artists.— A British
musical, about a woman musician who lives on after
her husband was killed defending her honor. It could
have been stronger. (Nov.)

BLARNEY KISS, THE— British & Dominions-
British restraint takes zip from this tale of an Irish-
man who kisses the Blarney Stone, and then has great
adventures in London. Well acted. (Nov.)

BLIND ADVENTURE — RKO-Radio. — Ad-
venturous Bob Armstrong tangled with Helen Mack,
crooks, and a jovial burglar, Roland Young, in a
London fog. But the plot is as badly befogged as the
characters. (Oct.)

• BLONDE BOMBSHELL. THE— M-G-M.—
( Reviewed under the title "Bombshell".) Jean
Harlow superb in an uproarious comedy of Hollywood
life. Press-agent Lee Tracy makes her the hot
"Bombshell"; she wants to lead the simple life. (Dec.)

• BONDAGE — Fox. — Dorothy Jordan superb as
a "misguided girl" ruined by cruel treatment at
the hands of Rafaela Ottiano, matron of the so-called
"reform" institution. Splendid treatment of a grim
subject. (July)

When in Doubt —
Let Us Answer!

If you want to know some
particular about a favorite
star, don't wonder and guess
— write to us, and let us
tell you! Our expert staff
will be glad to answer any
such questions. See the
"Ask the Answer Man"
page in this issue for parti'
culars — and use this" free
service as often as you like!

• BOWERY, THE — 20th Century-United
Artists. — Grand fun while Wally Beery as
Chuck Connors and George Raft as Steve Brodie
battle for leadership of the Bowery in old days.
Jackie Cooper, Fay Wray. Don't miss it. (Dec.)

BRIEF MOMENT — Columbia.— Night club
singer Carole Lombard marries playboy Gene Ray-
mond to reform him. It has snap and speed. (A' or.)

BROADWAY THRU A KEYHOLE— 20th Cen-
tury-United Artists. — Walter Winchell's melodrama
of Gay White Way night life. Entertaining. (Dec.)

• BROADWAY TO HOLLYWOOD— M-G-M.
Frank Morgan, Alice Brady, others, in a finely-
done life story of two vaudeville hoofers. No thrills,
but supreme artistry. ( Nov.)

BROKEN DREAMS — Monogram. — Buster
Phelps shows how a little child can lead them; it's
slightly hokey. (Dec.)

BUREAU OF MISSING PERSONS— First Na-
tional.— Good, stirring detective work by hard-boiled
Pat O'Brien, directed by chief Lewis Stone. Bette
Davis. (Nov.)

CALLED ON ACCOUNT OF DARKNESS—

Bryan Foy Prod. — This one has the themes, but not
the punch, of some good baseball pictures. (Aug.)

CAPTURED!— Warners.— Leslie Howard, Doug
Fairbanks, Jr., captured aviators held by prison
commander Paul Lukas. Fine acting; weak plot.
(Sept.)

CHANCE AT HEAVEN— RKO-Radio.— "Poor
but noble" Ginger Rogers and rich Marian Nixon
want Joel McCrea. Excellent playing makes this old
plot highly appealing. (Dec.)

CHARLIE CHAN'S GREATEST CASE— Fox.

— Warner Oland in another delightful tale about the
fat Chinese detective, and a double murder. Heather
Angel. ( Nov.)

CHEATING BLONDES— Equitable Pictures —
A would-be murder mystery and sexer; it's neither.
Thelma Todd. (Aug.)

CHIEF, THE— M-G-M.— Ed Wynn in a filmful of
his nonsense that's good at times and at others not so
good. (Dec.)

CIRCUS QUEEN MURDER, THE— Columbia-
Sleuth Adolphe Menjou solves the murder of trapeze
performer Greta Nissen. Grand circus; a wow finish.
(July)

COCKTAIL HOUR— Columbia.— Bebe Daniels,
scorning "steady" Randolph Scott, tries Europe
and a fling at "free" life. Entertaining, if not out-
standing. (A ug.)

COLLEGE HUMOR— Paramount. — Regulation
movie college life. Jack Oakie as hero. Bing Crosby;
Burns and Allen, Richard Arlen, Mary Kornman,
good enough. (Sept.)

CORRUPTION — Wm. Berke Prod. — Preston
Foster as a boy mayor who crosses the bosses and
cleans up the town. A novel murder twist. Evalyn
Knapp good. (July)

COUGAR, THE KING KILLER— Sidney Snow
Prod. — Life as the official panther catcher for the
State of California; good animal stuff. (Aug.)

DANGEROUS CROSSROADS— Columbia. —

Chic Sale does the locomotive engineer in a railroad
thriller. For confirmed hokum addicts and Chic
Sale's followers. (Sept.)

DAS LOCKENDE ZIEL (THE GOLDEN

GOAL)— Richard Tauber Tonfilm Prod.— Richard
Tauber, as village choir singer who attains grand
opera fame. His singing is superb. English captions.
(Sept.)

DAY OF RECKONING, THE— M-G-M —

Richard Dix, Madge Evans, Conway Tearle, below
par in an ancient tale of an embezzling cashier and a
double-crossing friend. (Dec.)

DELUGE — RKO-Radio. — Earthquakes, tidal
waves, the end of the world provide the thrills here.
Cast and story alike dwarfed bv the catastrophes.
(Nov.)

DEVIL'S IN LOVE, THE— Fox. — A shopworn
Foreign Legion story; but Victor Jory, Loretta Young,
David Manners, Vivienne Osborne, save it with fine
acting. (Oct.)

DEVIL'S MATE — (Also released under title "He
Knew Too Much") — Monogram. — A good melo-
drama about a murderer who was murdered so he
couldn't tell what he knew. (Oct.)

DIE GROSSE ATTRAKTION ("THE BIG
ATTRACTION")— Tobis-Tauber-Emelka Prod-
Richard Tauber's singing lends interest to this Ger-
man film. English subtitles. (Oct.)

[ PLEASE TURN TO PAGE 12 ]

Photoplay Magazine for January, 1934

The star of the month-
story from the book-of-the-
month — makes the picture
of the month, as Warner
Bros, again team the author
and star of "Little Caesar"
. . . This roaring, real life
drama of a"plunger"of the
tracks, wagering body and
soul — hazarding love and
life, is hailed by a million
readers as W. R. Burnett's
greatest story. ..awaited by
fifty million theatre-goers as
Robinson's greatest picture!

da r k mm RD

A First National Picture with Genevieve Tobin • Glenda Farrell . Directed by Alfred E. Green

1 he Audi

lence

lalks Back

THE $25 LETTER

Quite a while ago, there was a little girl, shy,
self-conscious, and not particularly pretty, a
lonely child with few friends. Wandering into
a theater, she sat entranced through "7th
Heaven." For weeks, she carried with her the
words of the immortal Diane, the lesson she
learned from Chico — "Never look down, al-
ways look up — see what you've done for me."
From the little Gaynor she learned not to be
afraid, to be brave, to have courage and with
courage all things are possible.

Taking a touch of burning ambition from
the self-made Crawford. Watching the in-
comparable Shearer, she learned to have poise
and self-assurance. Watching the breath-
taking beauty of Marlene, the ethereal loveli-
ness of Garbo, the lady-like Harding and the
sweet sincerity of Hayes, she kept on learning.

She isn't timid any longer, or lonely. She
is popular now. She had, for the asking, the
greatest teachers in the world.

That little girl was I.

A. M. Johnson, Pittsburgh, Penna.

THE $10 LETTER

A Western picture was being shown in a
small West Virginia town. Near the front of
the theater sat a "hill-woman" with her hus-
band. A small child slept on her knee. Her
whole being expressed hard work.

Judging from her behavior, she had seen few
pictures. Such absolute enjoyment I have
never witnessed. The nearest comparison I
can think of is the joy a child finds in a
new toy, but even that does not describe her
pleasure. When she had seen the show once,
she refused to leave until she had seen it again.
Her eyes sparkled and the blood coursed
through her veins with such rapidity that her
cheeks were glowing like a young girl's.

When you have given bread to a hungry one
ymi have fed his body, but when you have
given a ticket for a movie to one whose life is
devoid of beauty and culture, you have fed his
soul.

Zenith W. Young, Clendenin. W. Va.

THE $3 LETTER

Something simply must be done about Mae
West!

Her magnetic personality and that "Mid-
way" dance is burning us up.

Recently, one of Oklahoma City's theaters
caught lire while Mae West was playing there
in "I'm Xo Angel." Even the men had to
come out!

We can't have Mae burning our perfectly
good theaters.

Can't someone persuade her to turn off just
a little of that heat?

Madeline Ball, Oklahoma City, Okla.

THAT GAL MAE

"She done him wrong," and some folks say,

"She's no angel, that gal called Mae."

But she has "It" in every curve.

And boys — those hips — how they can swerve!

Her hair it shimmers, her legs are neat,

She's the finest gal that you can meet.

Her eyes are naughty but still quite nice,
And does she glitter with all that ice!
Her voice is husky, a slow, soft drawl —
Its tone entices one and all.
Her clothes are stunning. Not quite discreet?
Well, neither are her charms effete.
Mrs. Elizabeth J. Hill, Vancouver, B. C.

In the background you see the
crowd straining for a look at
Mae West as she graciously
posed for photographers at the
premiere of "I'm No Angel"

HTHEN along came "The West" —

burning up our theaters, and such
like. Whooie! How Mae did move
in on Hollywood! Says she, "I'm No
Angel." Says we, " 'S all right, we're
convinced!"

"Three Little Pigs" went to market,
and sold us so completely on their
product that we're all anxiety over
each announcement of a new Walt
Disney Silly Symphony.

Music's in the air, and the motion
picture public mean to keep it there.
Never was there such a deluge of mail
on one subject. They go right down
the line of recent musical screen pro-
ductions, quite unable to name any
one in particular for top honors. But
hoping for more, more, more!

Readers' continual plaint is that
"trailers," shown in advance of a pic-
ture, ruin the suspense. Producers,
don't reveal important plot details!

When the audience speaks the stars and
producers listen. We offer three prizes for
the best letters of the month— $25, $10 and
$5. Literary ability doesn't count. But
candid opinions and constructive sugges-
tions do. We must reserve the right to cut
letters to fit space limitations. Address The
Editor, PHOTOPLAY, 221 W. 57th St.,
New York City.

AND A BIG PAIN!

Fan critics, you give me a pain! For the
last year you have been crying, "We're sick of
those sexy pictures. Give us delightful, whole-
some pictures like "Smilin' Through."

Then along comes overstuffed, oversexed
Mae West, who thinks all you have to do to
become an actress is to swing your hips around,
and you fall for it!

Robert Bruce, Syracuse, N. Y.

AND HOLD HIM

Mae West deserves an unholy halo for her
work in " I'm No Angel." She proves that she
may and can get her man if she so desires.

She tlaunts her diabolic plumage in no un-
mistakable manner, leading willing victims to
her shrine. And we are quite surprised to find
a tear mingled with our laughter.

Lenore Bolger, Grand Rapids, Mich.

ALL OVER -THREE LITTLE PIGS"

Three little girls near the front grow starry-
eyed and "oh" and "ah" their childish delight,
punctuating it with involuntary handclaps.

The wrinkled, weather-beaten face of the old
man in the threadbare suit on the aisle loses its
bitter expression as though the memory of
happier days has been jogged.

High school girl whispers to high school boy
friend: "Isn't it just too grand!" He nods an
enthusiastic "Yes!"

Madame Club Woman voices her apprecia-
tion to her companion.

The firm mouth of a weary spinster school
teacher relaxes into a broad grin of genuine
approval.

A grimy little newsy says to his plump
mania: "Ain't it a wow, Ma!"

All over the theater these expressions of
approval echo. Faces take on a happier ex-
pression. The picture is ended, and the
theater fairly rocks with applause.

Never in my experience as usher have I seen
evidence of such universal enjoyment as during
the showing of Walt Disney's "Three Little
Pigs."

Helen E. Meyer, Detroit, Mich.

A BARGAIN

I believe I would buy Photoplay every
month if it were fifty cents per copy. Because:

There's a certain sense of dignity about the
magazine, even to the quality of paper on
which it is printed.

While I am able to see very few motion
pictures, backed by Photoplay's reviews, I
can offer intelligent criticism on anyr film.

Seymour tips me off as to what will be worn
(as well as what will not be worn!) next
season. The beauty aids are aids. And Sylvia
— whooey!

Those interviews: Sara Hamilton's delight-
fully intimate ones; Cal York's newsy gossip.

And I often clip the coupons from the adver-
tisements.

What more could one want for twenty-five
cents?

Mary F. Abel, Kansas City, Mo.
[ please turn to page 10 ]

Photoplay Magazine for January, 1934

\he

od <he

^d Qjeec" Podoy

Fozefc

~» — 7.

0 °

v*"--

,»y

PARAMOUNT PRE

Lewis Carroll s

-k!

n ■ *«*

Ifi

bat

hec

L»*

>?■

rth)

A/on'

* CHARLOTTE HEArY

as ' Alice'. . . and

RICHARD ARLEN • ROSCO ATES
GARY COOPER • LEON ERROL
LOUISE FAZENDA • W. C. FIELDS
SKEETS GALLAGHER • RAYMOND
HATTON • EDWARD EVERETT
HORTON • ROSCOE KARNS • MAE
MARSH • POLLY MORAN • JACK
OAKIE • EDNA MAY OLIVER • MAY
ROBSON-CHARLIE RUGGLES- ALISON
S K I PWORTH
NED SPARKS
FORD STERLING

*>j

Directed by Norman McLeod

* ?

>Y\°''

(Edwa<

d Eve^i

Do'

noose

(Jack'

Hor'°f
, Seafl

gg&

ALICE meets ,he Wh(,e

(Si

ee/s

'oil,

the

65>.

^•■■v°v

<fc/

*0.

lS?-< '

If It's a PARAMOUNT PICTURE . . . It's the Best Show in Town

1 he Candid Opinion Of

Meet in films Louisa Alcott's "Little Women." Front to rear, Amy (Joan
Bennett), Beth (Jean Parker), Jo (Katharine Hepburn), Meg (Frances Dee)

Who could help it after seeing such fine
pictures as "42nd Street," "The Masquer-
ader," "Tugboat Annie," "The Bowery,"
"Footlight Parade," and "Paddy, the Next
Best Thing"?

Betty Loesch, Erie, Penna.

MUSIC'S IN THE AIR

Have just recently seen "Gold Diggers of
1933," "Footlight Parade" and "Too Much
Harmony"; and I'll say they are just what we
need. Something to cheer and pep you up.
Here's hoping we see many more pictures just
like these.

Rudy F. Bouteiller, Louisville, Ky.

See a movie of song and dance and you will
have seen as good as the average musical stage
production, the only difference being that you
will not have to dress up.

Alice W. Newell, Boylston, Mass.

BIG "PARADE"

I have just seen " Footlight Parade." What
a picture! What a cast!

James Cagney and Joan Blondell are excel-
lent as always. A grand team.

M. H. Thompson, Pittsburgh, Penna.

A COURSE IN ACTING

Perhaps the most rabid movie fan in my
acquaintance is my young cousin, aged twelve.
Betty is a normal youngster, with an excep-
tionally precocious mind, far beyond her fel-
lows in school, yet interested in play like any
child.

She gains all sorts of ideas from her picture-
going.

One day she will slink around and speak
gutturally, so we know she's been seeing

[ CONTINUED FROM PAGE 8 ]

TRAILERS KILL SUSPENSE

A great deal of enjoyment in viewing pic-
tures, for me, is the fact that I don't know how
the picture is going to turn out. I have seen
several pictures from which much of the sus-
pense was taken away because I had previously
seen the advertising trailer.

In "Storm at Daybreak," for example, all
the time I should have been wondering how the
triangle was going to end, I knew from having
seen the trailer that Walter Huston was going
to drive the team into destruction.

In "Mary Stevens, M. D.," all the while I
was looking at that perfectly adorable baby,
I knew he was going to die, and there have
been numerous other instances when the
trailer completely relieved a film of its im-
portant thrill of suspense.

Therese Clark, Los Angeles, Calif.

MEG, JO, BETH AND AMY

I was a "hotel child." Hugging my doll, I
sat for hours alone in the lobby. One day I
found four charming companions. They lived
in a book called "Little Women," but they
seemed like the sisters for whom I longed.

They invited me into their friendly home
circle and far more real they were than passing
strangers with curious glances. I laughed,
grieved and had secrets with them, and I am
grateful that one lonely child, through them,
found a world in which she had a happy place.
How lovely the recollection, and now I am to
meet again, through the medium of the screen,

these beloved girls who shared my youth.
Javia Bromley, Oakland, Calif.

DE BOW'RY

Every old timer should see "The Bowery,"
if for no other reason than Pert Kelton. Go
back to the good old days of your youth (I'm
only seventy-four years young) — to the good
old strains of Ta-Ra-Ra-Ra-Boom-De-Ay.

Producers, take a tip from me. Give the
public more Mae Wests and Pert Keltons.
R. B. Sivertson, San Francisco, Calif.

LOOKING FOR ROD

Recently I viewed the weird production —
"S. O. S. Iceberg" — that interesting tale of the
frozen North. I found the picture most enter-
taining. Important to me was the return of
Rod LaRocque to American movies. He
makes his small role so convincing. I am
positive the public would like to see Rod's
name in the bright lights again.

W. J. Mathews, Chicago, 111.

THINK WHAT YOU'VE MISSED

For months my boy friend and I quarreled
over movies — for you see, that has always been
his hobby, but it was not mine. Whenever we
had a date he invariably suggested the theater.
While I enjoy a good picture, I was not the
enthusiast; he was. Naturally, we had argu-
ments.

After attending at least two shows a week
for a few months, I am now as much of a
movie devotee as he.

Does the movie public want Rod
back for keeps? LaRocque as
Prince Albert in an early
talkie "One Romantic Night"

ovie-goers iiiverywnere

Garbo. The next day she will be all sweet and
lisping, a la Gaynor; the next dramatic, like
Joan Crawford.

But she has gained a certain poise through
watching these screen people. Her manners
are improving daily. The effect of the movies
on this child is entirely beneficial.

Helen Raether, Albion, Mich.

OUR WEAKNESS

Since seeing Lilian Harvey in "My Weak-
ness," I have been studying the reactions of
people who saw the picture. They say,
"Wasn't she grand — a real sense of comedy,"
or " I loved her, so different, and what a relief !"

We had practically no young, clever com-
ediennes— until Lilian came along. She's per-
fect.

Nana Staley, Springfield, 111.

A PRIZE PUMPKIN?

What in the name of this-and-that is all the
fuss over Lilian Harvey for? To me she is just
a prize pumpkin and I hate pumpkins. As for
her being able to take Janet Gaynor's place —
why, it just isn't being done. Why? Because
it is impossible. Janet is Our Janet and always
will be. She's mighty catching!

Beverly Hook, Augusta, Ga.

WELL WORTH THE EFFORT

After reading the various criticisms about
the talkies, may a mere farm woman speak
from the other side of the fence?

I find nothing wrong with the talkies.

I think the stars — every one of them — are
fine. Each one contributes something to my
craving for beauty, culture and entertainment.
Where else in the world could a farm wife get
more enjoyment, more zest for work, more pep

Most folks liked the idea of a change in comedy diet. Others couldn't see
Lilian Harvey in "My Weakness." Our comedienne as a Spanish senorita

His first screen work was in
Warners "I Loved a Woman."
And, already, readers are shouting
praises for George Blackwood

to keep on, than at a talkie! The stars have
kept me in touch with the right kind of clothes,
the proper setting of furniture, correct posture,
etiquette. I've often left a talkie humming
some gay modern tune.

I've copied their coiffures, their clothes and
relived with them romance. I'm never too
tired to drive miles to a talkie!

Mrs. F. Cecrle, North Judson, Ind.

LULLABY LAND

I have just seen Walt Disney's "Lullaby
Land," done in Technicolor, three times, and
I could see it many times more and not tire of
its lovable baby hero and his adoring pal, the
gingham dog.

When the title flashed on the screen, I
thought. "Just another dull feature," and
settled down in my seat for a possible doze. In
two minutes I was sitting upright, enjoying
thoroughly the quaint figures, delightful color-
ing, excellent music, and becoming quite
breathless over baby's journey into Forbidden
Land.

Mrs. W. H. Rager, Jr., Youngstown, Ohio

INNOVATION

While driving through Camden, New Jersey,
we came upon something new — a "drive in
theater."

We stopped, and together with many other
motorists, sat in the car and saw an old talkie.
The picture itself was not good. But we ex-
perienced the thrill of something different
nevertheless.

Mrs. H. J. Simon, New York City

PARADISE "FOUND"

True, the average screen play with its
glamour and glitter and romance is apt to form
in the mind, especially of the young, a false
picture of life, to transform this "cold, cruel
world" into a bright, carefree place. But even
a Fool's Paradise is better than no Paradise at
all!

Ralph Garcia, Trinidad, B. W. I.

IN YOUR OWN BACKYARD

A young juvenile now in Hollywood who
seems to be quite definitely a screen find is
George Blackwood.

I have seen him on the Broadway stage, and
in the Edward G. Robinson picture, "I Loved
A Woman," and with his acting ability and
charming screen presence think he should go
far.

I sincerely hope he will not be ignored as so
many other potential stars have been.

Toby Wing and Mary Carlisle have definite
possibilities.

Perhaps the producers will one day learn
that new faces like the bluebird of happiness
are waiting right in their own backyard.

Bert Hughes, New York City

THE DADDY OF THEM ALL

Photoplay has given us a "new deal" in
reading matter.

We've watched the complete metamorphosis
of this magazine from the ordinary garden
variety of its type, way back in 1916, into the

[ PLEASE TURN TO PAGE 14 ]

Brief Reviews of Current Pictures

[ CONTINUED FKOM PAGE 6

• DINNER AT EIGHT— M-G-M.— Another
"all star" affair; they're invited to dinner by
Lionel Barrymore and wife Billie Burke. ><iphisti-
cated comedy follows. (Aug.)

DIPLOMANIACS — RKO- Radio. — Wheeler and
Woolsey as delegates to the Peace Conference. Good
in some spots, awful in others; lavish girl display.
(.July)

DISGRACED — Paramount. — Not a new idea in
a carload of this sort of stuff. Mannikin Helen
Twelvetrees; rich scamp Bruce Cabot; enough said.
(Sept.)

DOCTOR BULL— Fox.— Will Rogers brings per-
sonality to the tale of a country doctor struggling
with a community that misunderstands; mild, except
for Will. (Nov.)

DON'T BET ON LOVE— Universal.— So-so;
Lew Ayres wild about race-horses; sweetheart Ginger
Rogers feels otherwise. Ends well, after some race
stuff. (Sept.)

• DOUBLE HARNESS— RKO- Radio.— Scintil-
lating sophistication, with Ann Harding wan-
gling rich idler Bill Powell into marriage, and mak-
ing him like it. (Sept.)

DREI TAGE MITTELARREST (THREE DAYS
IN THE GUARDHOUSE)— Allianz Tonfilm Prod.
— Excellent comedy situations when the mayor's maid
seeks the father of her child. German dialogue. (A ug.)

• EAGLE AND THE HAWK, THE— Para-
mount.— The much used anti-war theme of the
ace who cracks under the strain of killing. Fredric
March superb; fine support by Cary Grant, Jack
Oakie, others. (July)

EMERGENCY CALL — RKO-Radio. — Another
hospital, gangster, doctor-and-nurse medley, led by
Bill Boyd and Wynne Gibson. Fair, but spotty. (July)

EMPEROR JONES, THE— United Artists —
The great Negro actor Paul Robeson, in a filming of
his phenomenal stage success about a Pullman porter
who won rulership of a Negro republic. (Dec.)

ESKIMO — M-G-M. — A gorgeous picture of life in
the Arctic, and Eskimos tangling with white man's
law. Eskimo actors; a treat for all who like the un-
usual. (Dec.)

EVER IN MY HEART— Warners.— Barbara
Stanwyck in a too-horrible tale about persecution of
herself and hubby Otto Kruger as German-Americans
during the World War. (Dec.)

FAITHFUL HEART — Helber Pictures.— Not
even Herbert Marshall and Edna Best could make
anything of this. ( Nov.)

FIDDLIN'BUCKAROO.THE— Universal.— Ken
Maynard and horse Tarzan in a dull Western. (Sept.)

FIGHTING PARSON, THE— Allied-First Divi-
sion.— Hoot Gibson tries comedy, as a cowboy be-
decked in the garb of a parson. Not exactly a comic
riot, nor is it good Western. (Oct.)

FLYING DEVILS, THE— RKO-Radio.— Jealous
hubby Ralph Bellamy, owner of an air circus, tries
to crash Eric Linden. Eric's brother, Bruce Cabot,
sacrifices himself in air battle with Bellamy. (Aug.)

• FOOTLIGHT PARADE Warners— Not as
much heart appeal as the earlier Ruby Keeler-
Dick Powell "backstage" romances, but it has Jimmy
Cagney. He's grand, and the specialty numbers are
among the finest ever done. (Dec.)

F. P. 1.— Fox-Gaumont British-UFA.— A well-
done and novel thriller, about a floating platform
built for transatlantic airplanes. Conrad Veidt,
Leslie Fenton, Jill Esmond. (Oct.)

FORGOTTEN MEN— Jewel Prod.— Official war
films from fourteen countries; nothing too strong to
put in. Fine if you can stand seeing what really
happened. (A ug.)

FROM HEADQUARTERS— Warners.— A grip-
ping murder mystery, showing real police methods for
a change. (Dec.)

GAMBLING SHIP— Paramount.— A good idea
gone wrong; Cary Grant, Benita Hume, in a badly
worked out gangster piece. (A ug.)

GIRL IN 419, THE— Paramount— Sexandadven-
ture in a hospital, when gangsters William Harrigan
and Jack LaRue try to silence Gloria Stuart, patient
of head surgeon Jimmie Dunn. Fast-stepping; well
done. (July)

• GOLD DIGGERS OF 1933— Warners.—
Another and even better "42nd Street," with
Ruby Keeler, Dick Powell, Joan Blondell, in charge
of the fun. A wow musical. (Aug.)

GOLDEN HARVEST — Paramount. — Farmer
Dick Arlen grows wheat; brother Chester Morris is a
Board of Trade broker; a farmers' strike brings the
climax. A strong film. (Dec.)

GOOD COMPANIONS, THE— Fox-Gaumont-
British. — A mildly pleasing English tale of trouping
in the provinces. (Dec.)

GOODBYE AGAIN— Warners.— Good, if not
howling, farce. Author Warren William pursued by
ex-sweetie Genevieve Tobin; he's for Joan Blondell.
(Sept.)

GOODBYE LOVE — RKO-Radio. — Charlie
Ruggles in a would-be comedy that's really a messy
mixture of unsavory material. (Dec.)

HE KNEW TOO MUCH— Monogram.— Also re-
leased as "Devil's Mate." See review under that
title. (Oct.)

HEADLINE SHOOTER— RKO-Radio.— News-
reel man William Gargan rescues reporter Frances
Dee, in an acceptable thriller with a new twist.
(Sept.)

HELLO SISTER — Fox. — Jimmie Dunn and Boots
Mallory in a formula plot— scandal makers cause
trouble, the truth comes out, etc. ZaSu Pitts helps a
lot. (July)

HELL'S HOLIDAY— Superb Pictures.— Another
assemblage of official war film — with the usual anti-
war conversation added. Otherwise, acceptable and
interesting. (Oct.)

HER BODYGUARD— Paramount.— Showgirl
Wynne Gibson's so pestered, she hires Eddie Lowe
as bodyguard. Good enough fun from there on.
(Sept.)

• HER FIRST MATE— Universal.— ZaSu Pitts
tries to make a big time mariner out of Slim
Summerville who's supposed to be first mate, but
who is really selling peanuts, on the Albany night
boat. Una Merkel helps scramble up the hilariously
funny plot. (Oct.)

HEROES FOR SALE— First National.— Boo
hoo! It's just too awful — all that happens to ex-
soldier Dick Barthelmess! (Aug.)

HIGH GEAR— Goldsmith Prod.— An auto racing
driver thought to be yellow. Don't bother. (July)

HIS PRIVATE SECRETARY— Showmens Pic-
tures.— An Evalyn Knapp romance with John Wayne.
Distinctly better than most films in which Evalyn
has appeared. (Oct.)

HOLD ME TIGHT— Fox.— Another Jimmie
Dunn-Sally Eilers opus, poor boy besting the villain,
they live happily, etc. (A ug.)

• HOLD YOUR MAN— M-G-M.— Clark Gable
and Jean Harlow; both crooked to start, both
go straight for love. Not another "Red Dust," but
good enough. (Sept.)

*"I COVER THE WATERFRONT"— United
Artists. — The late Ernest Torrence, a fisher-
man who smuggles Chinamen, exposed when reporter
Ben Lyon wins Ernest's daughter, Claudette Colbert.
Good melodrama. (July)

I HAVE LIVED— Chesterfield.— Alan Dinehart,
Anita Page, others, help this obvious tale about a
playwright and a woman of easy virtue. ( Nov.)

I LOVE THAT MAN— Paramount.— Nancy Car-
roll sticks to con-man Eddie Lowe, and all but reforms
him when he gets double-crossed and killed. Accept-
able. (July)

*I LOVED A WOMAN— First National— Ed-
ward G. Robinson, as a rich Chicago meat-
packer, finds his life torn between wife Genevieve
Tobin and opera singer Kay Francis. Excellent and
"different." ( Nov.)

I LOVED YOU WEDNESDAY— Fox.— Life and

loves of dancer Elissa Landi. Victor Jory throws her
over; Warner Baxter loves her. Pleasant; not grip-
ping. (Sept.)

• I'M NO ANGEL.— Paramount.— It's Mae
West, and how! Sizzling, wise-cracking. This
one simply wows audiences. There's Cary Grant, but
Mae's all you'll see. (Dec.)

INDIA SPEAKS— RKO-Radio.— Richard Halli-
burton gives a personally conducted exposure of the
caste system and some adventure. We're doubtful.

(July)

INTERNATIONAL HOUSE — Paramount. — A
riot of gags, put over by W, C. Fields and others,
while Stu Erwin tries to buv a Chinese invention.

{July)

IT'S GREAT TO BE ALIVE— Fox. — Perhaps
squirrels who see this will think so; most audiences
won't. Herbert Mundin, Edna May Oliver help
some. (Sept.)

[ PLEASE TURN TO PAGE 16 ]

Photoplays Reviewed in the Shadow Stage This Issue

Save this magazine — refer to the criticisms before you pick, out your evening's entertainment. Make this your reference list.

Page

Before Dawn— RKO-Radio 109

Blood Money — 20th Century-United

Artists 109

Christopher Bean— M-G-M 59

College Coach — Warners 59

Cradle Song — Paramount 58

Dance, Girl, Dance — Invincible 109

Der Sohn Der Weissen Berge — Itala

Film 110

Design for Living- — Paramount 56

Duck Soup— Paramount 58

Female — First National 58

Page

Havana Widows — First National 56

Hell and High Water — Paramount . . . . 109

Hoopla — Fox 58

House on 56th Street, The — Warners. . 57

Invisible Man, The — Universal 109

King for a Night— Universal 58

Little Women— RKO-Radio 56

Lone Cowboy — Paramount 110

Mad Game, The — Fox 58

My Lips Betray — Fox 109

My Woman — Columbia 59

Olsen's Big Moment — Fox 109

Page

Only Yesterday — Universal 57

Police Car 17 — Columbia 110

Prizefighter and the Lady, The —

M-G-M 57

Quatorze Juillet — Protex Pictures 110

Rider of Justice — Universal 110

Son of a Sailor — First National 59

Special Investigator — Universal 110

Take a Chance — Paramount 59

Vinegar Tree, The— M-G-M 109

White Woman — Paramount 59

Photoplay Magazine for January, 1934

cJityicvte i/n mz cmema hmwu
jew Miinma Ata/Qinlwv biuutml

,' SAMUEL dOLDWYN

PRODUCTIONS

AX ROMAN

^ SCANDALS

■v

Your Eddie! Our Eddie! Every-
body's Eddie! Now a crashing
charioteer! Burning up Romewith
laughs, lions, lovely ladies, lilting
lyrics! One big Roman Holiday!

RUTH ETTING
GLORIA STUART
DAVID MANNERS

ond the
NEW GOIDWYN GIRIS

As the Parisian daughter of
voluptuousness from Zola's
magic pages, she has a role
magnificently matching her
superb artistry. America
awaits, with expectant thrill,
this, her first American picture.

V ■ %

Released thru
UNITED ARTISTS

r i ckb a t s 8c

o u q u e t s

The Three Hacketts, Frank Morgan,
Alice Brady, Jackie Cooper, about
to put on their act, in "Broadway to
Hollywood," story of backstage life

[ CONTINUED FROM PAGE 11 ]

smart, scintillating and thoroughly matured
product of today. It resembles, to a certain
extent, the startling transition of a Crawford
or a Swanson from their initial awkwardness
and uncertainty to the brilliant, soigne
creatures we behold on the screen today.

We find amusing, and not a little pathetic,
the agility with which other monthlies hasten
to copy each innovation of Photoplay, as, for
example, the beauty department, prize con-
tests, fashion displays, and even the date of
publication.

Marion McClory, Paterson, N. J.

QUITE SO

We all know that producers try to give the
public what it wants, but it is only once in a
great while that a picture like "One Man's
Journey," with that gifted actor, Lionel Barry-
more, makes an appearance.

Here is a story of human nature at its best
that will please many and will be long re-
membered.

Harry E. Myers, Hornell, N. Y.

LET THERE BE LIGHT

Darkness . . . and then came the dawn.

Day after day, week after week, I walk in
the shadow of the mine, hemmed in by black
walls — covered with earth — and the irritation
of dust in my nostrils. With the earth above,
the darkness beneath, I am buried alive!
Despite the darkness, light creeps upon the
deadly shadows of night — then dawn!

Once each month I visit my home town and
again I breathe and live. My only spark of
life keeps burning to see my world of pleasure
— the motion picture theater. The films place
me in a cheerful and entertaining life. A life
full of contentment.

E. I. U., Harrisburg, Penna.

JUST EVERYTHING

I want everybody to hear my applause for
"Broadway to Hollywood." This picture has
everything — comedy, drama, music, beauty.
Alice Brady is superlative and, incidentally,
women can learn much from the role she
portrays.

Madge Evans, as always, is lovely.

This is a picture that does not leave you
cold— you laugh uproariously and cry despite
yourself.

Mary H. Furman, E. Orange, N. J.

AWE-INSPIRING

There is a strange fascination about the
movies. A fascination difficult to analyze. It
lies partly, I think, in the continuous darkness
where one has the marvelous facility of passing
from one place to another. Seeing life in
Europe, shopping in London, being gay in
Paris, having a peep at Monte Carlo.

There is a breathlessness about it all, a need
to crowd every kind of experience into a few
short hours. It's with a sigh of contentment
I come back to real life leaving behind the
fragment of a vanished experience or a future
hope, in the charmed atmosphere of the movies.
B. H. Smith, East Portchester, N. Y.

The country doctor (Lionel Barrymore) of "One Man's Journey" has won us
all. This happy group (with May Robson) are having a real celebration

Photoplay Magazine for January, 1934

COME TAKE A JOY RIDE Ti

c .his grand, breath-catc

TV a o o\\ «reen mu.
Tclimax or A

entertainments..-

that gaily *Purns ,he \9
chases Folly <""°nS

hing
sical
ture
th and
itars!

r EJ ^ \

GENE RAYMONDi

RAUL ROUUENl

o daring, *° dif;
Heart.racing romance . . • of q „muslC

fcren. • • • *" ^^'l h anting MBII— J»
show" will come t. - tuneS/ del|rio0S fcn

. Thrilling stars, ea -ng ^ rayish,n

and gorgeous g-r I. ' exCiting revel

DOLORES ML^WO

GENE RAYMOND s RAREDASTAlRE
GINGER ROGERS

An RKO Radio «*J *- *J^. ducer
MEWANC.COOPE producer

Louis Brock, Ass ^ ^

u these tantalizing songs: ■ . . d fhe ne*

dance sensat.on the. mlsmg W

/■rf

l/.

FRED ASTAIRE GINGER ROGERS

Photoplay Magazine for January, 1934

A Christmas

GIFT

Twelve Times

' II "HERE are several reasons why a
subscription to Photoplay Maga-
zine is such an ideal Christmas gift.
Not only does it continue its pres-
ence month after month — long after
the holly and mistletoe are forgotten
— but its welcome is absolute. You
know it will please.

C[ In these days when everyone is
interested in motion pictures, the gift
of a magazine that reveals the inside
of the art and industry — every month
— is assured the keenest welcome.
Photoplay has the brightest person-
ality stories, the most appealing il-
lustrations and the most reliable in-
formation about the stars and their
pictures.

Beautiful Gift
Announcement Card

With each subscription you will re-
ceive a beautiful card to sign and mail.
or if you prefer hand to your friend
Christmas Morning.

Send—

#1.00 for 5 months.

2.50 for 1 year.

4.00 for 2 years.

4.00 for 2 1-year subscriptions.

2.00 for each extra Gift Subscription.

For Foreign and Canada send $1.00 in ad-
dition to above for each yearly subscription,
or 50c additional for each 5-month sub-
scription.

Mail Special Blank Below — to

Photoplay Magazine, Dept. i-cs,

919 No. Michigan Ave., Chicago, III.

PHOTOPLAY MAGAZINE, Dept. 1 -CS,
919 N. Michigan Ave., Chicago, 111.

I want to take advantage of your offer and en-
close $ (Q Check □ Money order)

for subscription to Photoplay:

UeogOi of subscription)

Send to

Address

City State

□ New □ Renewal

Brief Reviews of Current Pictures

CONTINUED FROM PAGE 12 ]

My Name

Address

City State

□ New □ Renewal

Use regular stationery to list additional subscrip-
tions.

JENNIE GERHARDT — Paramount. — Sylvia
Sidney's ".rand acting saves a slow telling of the
Dreiser tale about a girl who, unwedded, loved her
man throughout life. (A ug.)

KENNEL MURDER CASE, THE— Warners.—
William Powell in another Philo Vance murder mys-
tery; smoothly done and entertaining. (Dec.)

KING OF THE ARENA— Universal.— A first-
rate Western with Ken Maynard. (July)

LADIES MUST LOVE— Universal— A "gold-dig-
gi -r" partnership breaks up when June Knight really
falls for Neil Hamilton. Thin, but it has good spots.
( Nov.)

• LADY FOR A DAY— Columbia.— Apple-
woman May Robson thought a society dame
by her daughter; a stage crowd throws a party to
save the day. Fine fun. (Sept.)

LAST TRAIL, THE — Fox. — A Zane Grey
Western with racketeers instead of rustlers, and speed
cops in place of cowboys. The changes don't help it.
{.Oct.)

LAUGHING AT LIFE— Mascot Pictures.— A
well-done Richard Harding Davis type of tale about
soldier of fortune Victor McLaglen raising cain in a
banana republic. (A ug.)

LIFE IN THE RAW— Fox.— George O'Brien and
Claire Trevor in a Western enriched with new ideas.

(i hi.)

LILLY TURNER— First National.— Inexcusable
sex. with Ruth Chatterton going from bad to worse
as a side-show performer. Worth avoiding. (July)

LONE AVENGER, THE— World Wide.— The big
bank robbery is the burden of this Ken Maynard
Western. Youngsters won't be disappointed. (Sept.)

LOVE, HONOR AND OH, BABY!— Universal.
— (Reviewed under the title "Sue Me.") Shyster
lawyer Slim Summerville tries to frame ZaSu Pitts'
sugar-daddv. Riotously funny, after a slow start.
( Nov.)

LUCKY DOG— Universal.— Canine actor Buster
turns in a knockout performance, as faithful compan-
ion to "out of luck" Chic Sale (cast as a voting man).
(My)

• MAMA LOVES PAPA— Paramount.— Lowly
Charlie Ruggles is made park commissioner;
involved with tipsy society dame Lilyan Tashman.
Great clowning. (Sept.)

MAN FROM MONTEREY, THE— Warners.—
John Wayne in a historical Western about Cali-
fornia when Uncle Sam took possession in '49. Will
appeal largely to the youngsters. (July)

MAN OF THE FOREST— Paramount.— Far from
being a topnotch Western. Randolph Scott, Verna
Hillie, Noah Beery. Good work done by a mountain
lion. (Sept.)

MAN'S CASTLE — Columbia. — A deeply moving
tale of vagabond Spencer Tracy and his redemption
by Loretta Young's love. (Dec.)

• MAN WHO DARED, THE— Fox— Life story
of the late Mayor Cermak of Chicago, from an
immigrant boy in a coal mine to his assassination at
the side of President Roosevelt. Fine cast, Preston
Foster in the lead. (Oct.)

MARY STEVENS, M.D.— Warners.— Slow tale
of two doctors (Kay Francis. Lyle Talbot) who love,
have a baby, but won't marry. (Sept.)

• MAYOR OF HELL, THE— Warners.— Gang-
ster Jimmy Cagney steps into a tough reform
school, and with help of inmate Frankie Darro, makes
things hum. Madge Evans. (Aug.)

MEET THE BARON— M-G-M.— Jack Pearl's
film version of his radio nonsense about Baron Mun-
chausen. Grand support; often hilarious. (Dec.)

MELODY CRUISE — RKO-Radio. — Playboy
Charlie Ruggles has girl trouble on a cruise. Good
music; plot falls apart. (Aug.)

MIDNIGHT CLUB— Paramount.— George Raft

plays crook to catch chief crook Clive Brook, but falls
in love with Helen Vinson, one of the gang. Not as
good as the grand cast suggests it should be. (Oct.)

MIDNIGHT MARY— M-G-M.— Loretta Young
does a better than usual gun moll; she shoots big-shot
Ricardo Cortez to save lawyer Franchot Tone for the
plot. (A ug.)

MIDSHIPMAN JACK— RKO-Radio.— A color-
ful story of Annapolis and a careless midshipman who
makes good. Bruce Cabot, Betty Furness, Frank
Albertson, others. (Dec.)

• MOONLIGHT AND PRETZELS— Univer-
sal.— Leo Carrillo, Lillian Miles, Roger Pryor,
Mary Brian, in a musical. Familiar theme but ex-
cellent numbers. (Nov.)

MORGENROT (DAWN).— UFA.— An excellent
German film about submarine warfare. English pro-
logue and captions. (^1 ug.)

• MORNING GLORY, THE— RKO-Radio.—
Katharine Hepburn at her superb best in a
story of a country girl determined to make good on
the stage. Douglas Fairbanks, Jr., Adolphe Menjou,
Mary Duncan. (Oct.)

• MY WEAKNESS— Fox.— Lilian Harvey as a
Cinderella coached by Lew Ayres to catch his
rich uncle's son, Charles Butterworth. Charles is a
riot. (Dec.)

MYRT AND MARGE — Universal.— Two popular
radio stars do their stuff for the movies; an amusing
little musical. (Nov.)

NARROW CORNER, THE— Warners.— Doug
Fairbanks, Jr., in a lugubrious tale of evil passions in
the South Seas. Fine acting, fine cast, but a dark
brown after-taste. (Aug.)

NIGHT AND DAY— Gaumont- British— Mixed
music and melodrama, done in leisurely British
fashion; the mixture doesn't jell. (Aug.)

• NIGHT FLIGHT— M-G-M.— All star cast,
with two Barrymores, Helen Hayes, Robert
Montgomery, Myrna Loy, Clark Gable, others. Not
much plot, but gripping tension and great acting, as
night flying starts in the Argentine. ( Nov.)

NO MARRIAGE TIES— RKO-Radio.— Richard
Dix as a brilliant sot who makes good in advertising,
with Elizabeth Allan clinging to him. Good Dix
stuff. (Sept.)

• NUISANCE, THE— M-G-M.— (Reviewed un-
der the title "Never Give A Sucker A Break.")
Lee Tracy at his best as a shyster lawyer and ambu-
lance chaser; Frank Morgan adds a magnificent
drunken doctor accomplice, until Madge Evans trips
them up. Fast, packed with laughs. (July)

• ONE MAN'S JOURNEY— RKO-Radio —
Lionel Barrymore struggles from obscurity to
universal esteem as a self-sacrificing, conscientious
country doctor. May Robson, David Landau, Joel
McCrea, others, in support. ( Nov.)

ONE SUNDAY AFTERNOON — Paramount.—

Dentist Gary Cooper suddenly finds his life-long
enemy in his dental chair, at his mercy, and thinks
back over it all. Direction could have done better
with cast and story. ( Nov.)

ONE YEAR LATER— Allied.— Melodrama that
turns a slow start into a good finish. Mary Brian
and Donald Dillaway. (Oct.)

OVER THE SEVEN SEAS— William K. Vander-
bilt. — Mr. Vanderbilt'sfilmsof his journey around the
world, gathering marine specimens. Some wonderful
color photography. (A ug.)

• PADDY, THE NEXTBESTTHING— Fox —
Janet Gaynor in a whimsical, delightful story
of an Irish madcap girl who doesn't want big sister
Margaret Lindsay forced to marry rich planter
Warner Baxter. (Nov.)

• PEG O' MY HEART— M-G-M.— The old
musical favorite, pleasingly done by Marion
Da vies, J. Farrell MacDonald, Onslow Stevens. (July)

• PENTHOUSE— M-G-M.— Standard melodrama
about a "high life" murder, but thrillingly done
bv Warner Baxter, C. Henry Gordon. Myrna Loy.
Phillips Holmes, Mae Clarke, and others. (Nov.)

PICTURE BRIDES— Allied.— Scarlet sisters,
diamond miners, and not much else. (Dec.)

Photoplay Magazine for January, 1934

• PILGRIMAGE — Fox.— Henrietta Crosman as
a mother who loses a son in France. She is
completely embittered until she visits France as a
Gold Star mother. Poignant, exquisitely done. (July)

POIL DE CAROTTE (THE RED HEAD)—

Pathe-Natan. — Redhead Robert Lynen splendid as
the lonely boy who tries to hang himself. English
captions. {Sept.)

POLICE CALL— Showmens Pictures.— Wild ad-
ventures in Guatemala; a mediocre film. (.Nov.)

POWER AND THE GLORY, THE— Fox-
Ralph Morgan relates the life story of his friend the
railroad president (Spencer Tracy). Colleen Moon
"comes back" in this. Unusual and good. [Sept.)

PRIVATE DETECTIVE 62— Warners.— Not-so-
thrilling thriller with Hill Powell, who was told to
frame Margaret Lindsay but married her. (July)

• PRIVATE LIFE OF HENRY VIII, THE—
London Film-United Artists. — Charles Laugh-
ton superb and also gorgeously funny as the royal
Bluebeard; photography is inspired. (Dec.)

• PROFESSIONAL SWEETHEART — RKO-
Radio. — Ginger Rogers in a patchily done but
funny skit about a radio "purity girl" who's hot-cha
at heart. Fine comic support. (A Kg.)

• RAFTER ROMANCE — RKO-Radio. —
Scrambled plot, but good fun. Two down-and-
out youngsters (Ginger Rogers and Norman Foster)
sent to live in the attic because they can't pay the rent.
Unknown to each other, they meet on the outside.
Then the fun begins. (Oct.)

RETURN OF CASEY JONES, THE— Mono-
gram.— A disjointed railroad melodrama. (Sept.)

• REUNION IN VIENNA — M-G-M. — John
Barry more, as the exiled Archduke Rudolf,
seeks to revive an old romance with Diana Wynyard.
Brilliantly gay and naughty; it should delight every-
one. (July)

SAMARANG — Zeidman-United Artists. — A finely
done travel piece about Malay pearl divers. Stirring
shark fights, an octopus; superb native types. (July)

S ATU R DAY'S M ILLI O NS— Universal.— Foot-
ball hero Robert Young thinks the game a racket, but
finds it isn't. Bright and fast. (Dec.)

SAVAGE GOLD— Harold Auten Prod.— A cork-
ing travel film, showing the Jivaro Indians of the
upper Amazon. You'll see human heads shrunk to
the size of oranges, among other gruesome thrills.
(Oct.)

SECRET OF THE BLUE ROOM, THE— Uni-
versal.— Well-sustained melodrama about a sealed
and deadly room. Gloria Stuart, William Janney,
Paul Lukas, Onslow Stevens. (Sept.)

SHANGHAI MADNESS— Fox.— Melodrama in
China; Spencer Tracy, Eugene Pallette, Fay Wray,
better than the story. (Nov.)

SHE HAD TO SAY YES— First National —
Loretta Young, cloak-and-suit model, must be agree-
able to out-of-town buyers. Gets all tangled in its
own plot. (A Kg.)

SHEPHERD OF SEVEN HILLS, THE— Faith
Pictures. — A finely done camera visit to the Vatican,
with scenes showing Pope Pius XL (Nov.)

SILK EXPRESS, THE— Warners.— Good m«lo-
drama; crooks try to stop a silk shipment from Japan.
Neil Hamilton; fine support. (Aug.)

SILVER CORD, THE— RKO-Radio.— Laura
Hope Crews as a possessive mother; son Joel McCrea's
wife Irene Dunne, and Frances Dee, fiancee of son
Eric Linden, rebel. Sparkling but "talky." (July)

SING SINNER SING — Majestic Pictures. —
Torch singer Leila Hyams tries to reform hubby
Don Dillaway. Paul Lukas, George Stone also in
cast. So-so. (Ocl.)

SKYWAY — Monogram. — A humdrum thriller
about an airplane pilot, played by newcomer Rav
Walker. (Oct.)

SLEEPLESS NIGHTS— Remington Pictures.—
The old farce idea of a man and girl supposed to be
married, and thrust into bedrooms accordingly; but
it's better than most British attempts at humor.
(Oct.)

SOLDIERS OF THE STORM— Columbia-
Standard melodrama about a I". S. Border Patrol
aviator and liquor smugglers; Regis Toomey makes it
distinctly good entertainment. (A Kg.)

SOLITAIRE MAN, THE— M-G-M— Crooked
doings in an airplane. Herbert Marshall, Lionel
Atwill, and Mary Boland as a screamingly funny
American tourist. (A7ov.)

SONG OF SONGS, THE— Paramount— A once-
thrilling classic about artist-model Marlene Dietrich,
deserted by artist Brian A In me, and married to
blustering baron Lionel Atwill. Charming; not stir-
ring. (Sept.)

SONG OF THE EAGLE— Paramount.— An hon-
est old beer baron (Jean Hersholt) is killed by gang-
sters; his son i Richard Arlen) avenges him. Accept-
able. (July)

S. O. S. ICEBERG— Universal.— Thrilling and
chilling adventure adrift on an iceberg; marvelous
rescue flying. (Dec.)

SPHINX, THE— Monogram.— Excellent melo-
drama, with Lionel Atwill as chief chill-giver; Theo-
dore Newton, Sheila Terrv, Paul Hurst, Luis Alberni.
(Aug.)

STAGE MOTHER— M-G-M.— Alice Brady and
Maureen O'Sullivan in an "ambitious mother and
suppressed daughter" tale; Alice Brady's great work
keeps it from being boring. (Dec.)

• STORM AT DAYBREAK— M-G-M— Kay
Francis and Nils Asther two unwilling points
of a triangle, with Serbian mayor Walter Huston
as the third. A powerful story of war davs in Sara-
jevo. (Sept.)

STORY OF TEMPLE DRAKE, THE— Para-
mount.— Life of an erotic Southern girl (Miriam
Hopkins), conquered by gangster Jack LaRue.
Sordid, repellent. (July)

STRANGE CASE OF TOM MOONEY, THE—

First Division. — Newsreel material showing Mooney's
side of this noted case. Effectively done. (Oct.)

STRANGER'S RETURN, THE— M-G-M— The
folks secretly detest rich, crotchety farmer Lionel
Barrymorc — all except city granddaughter Miriam
Hopkins. Grand "back to the farm" feeling;
superb acting. (Sept.)

STRAWBERRY ROAN— Universal.— Ken May-
nard and Ruth Hall good; but the horses are so fine,
humans weren't needed. An exceptional Western.
(Dec.)

STUDY IN SCARLET, A— World Wide.— Has
Reginald Owen as Sherlock Holmes, but Conan Doyle
wouldn't know the story. Fair, (.-i Kg.)

SUCKER MONEY— Holly wood Pictures.— A mis-
erably done expose of fake mediums. (July)

SUNSET PASS— Paramount.— A Western that is
one — fine cast, fine action, gorgeous scenery. Worth
anyone's time. (.4 Kg.)

SUPERNATURAL — Paramount. — Carole Lom-
bard attempted a spooky "transmigration of souls"
thriller in this one. (July)

SWEETHEART OF SIGMA CHI, THE— Mono-
gram.— Buster Crabbe and Mary Carlisle ornament
an otherwise so-so tale of college life. (Dec.)

SYAMA — Carson Prod. — The elephant doings
here might have made a one-reel short; otherwise,
there's nothing. ( Nov.)

TAMING THE JUNGLE— Invincible.— Another
revelation of lion taming. Some interest, but not hot.
(A Kg.)

TARZAN THE FEARLESS— Principal.— Buster
Crabbe doing Johnny Weissmuller stuff in a disjointed
Tarzan tale. Indifferent film fare. (Nov.)

• THIS DAY AND AGE— Paramount.— Cecil
B. DeMille produces a grim but gripping story
of boys who clean up on a gangster when the pi dice fail
A challenging picture that everyone will talk about.
(Ocl.)

THIS IS AMERICA— Frederick Ullman, Jr. Prod.
— Newsreel material, brilliantly selected and as-
sembled by Gilbert Seldes, tells the story of America
from 1917 to the present. Well worth seeing. (Oct.)

• THREE-CORNERED MOON— Paramount.
— Nicely done comedy about an impractical,
happy family. Mary Boland the impractical mama;
Claudette Colbert the daughter, in love with would-
be author Hardie Albright. But Doctor Dick Arlen
moves in and upsets things. (Ocl.)

THUNDER OVER MEXICO— Sol Lesser Prod.
— Russian genius Sergei Eisenstein's idea of Mexico's
revolt against Diaz; breath-taking photography and
scenery. (--Dig.)

[ PLEASE TURN TO PAGE 111]

TO STOP A

COLD

QUICK

— Treat it in the First or
Dry Stage!

A COLD is nothing to treat lightly. It may
end in something serious. A cold is an in-
ternal infection — keep that in mind. It is an
infection that usually passes thru three stages.
The first — the Dry stage, the first 24 hours.
The second — the Watery Secretion stage, from 1
to 3 days. The third, the Mucous Secretion stage.

The 4 Effects Necessary

The thing to take upon catching cold is Grove's
Laxative Bromo Quinine. It is expressly a cold
remedy and it does the four things necessary.

First, it opens the bowels, gently, but effec-
tively, the first step in expelling a cold. Second,
it combats the cold germs in the system and re-
duces the fever. Third, it relieves the headache
and that grippy feeling. Fourth, it tones the
system and helps fortify against further attack.

This is the treatment a cold requires and any-
thing less is taking chances.

Grove's Laxative Bromo Quinine is utterly

harmless and perfectly safe to take. It is, and has

been for years, the leading cold and grippe tablet

of the world. That

testifies to its safety as

well as efficacy.

Noiv—20% More
for Your Money

Grove's Laxative Bromo
O'lininc comes in two sizes —
30c and 50c — aod is sold by
every drug store in America.
Buy the 50csizcas it gives you
20% more for your money.
Always ask for it by the full
name and look for the letters
LJ3Q stamped on every tablet.
Resent a substitute as io
attempt to "do" you.

A Cold is an
Internal Infection

and Requires
Internal Treatment

GROVE'S

BROMO

LAXATIVE

QUININE

Photoplay Magazine for January, 1934

GARBO'S TRIUITlPHflnT RETURn

TO THE SCREEIT

Greta Garbo in "Queen
Christina" with John
Gilbert, Ian Keith, Lewis
Stone, Elizabeth Young,
A Rouben Mamoulion
Production, Associate
Producer, WalterWanger

Eugene Robert Richee

TF Dorothea Wieck took the country by storm in "Maedchen in
■*- Uniform," she has even more touching appeal in her first American
film, "Cradle Song." That spiritual quality we all loved seems intensified
tenfold by her garb as a novice, in this glimpse of her falling in love with
the foundling left in her convent. She fairly radiates motherly tenderness

Ernest A. Bachrach

FRANCES DEE doesn't look very militant here. But that wistful
appeal is just what melts the hearts of all sons of Mars. That's what
she'll be called on to do in her next, "Rodney," where she has to straighten
things out for a man who loves his horse above himself and his career. But
after all her fine work heretofore we'd say Frances is just the girl to do it

■

Clarence Sinclair Bull

DAINTY Elizabeth Allan seems all rested now from the injury which
took her out of one film. In fine shape to give us a treat by her work
with Robert Montgomery in "The Mystery cf the Dead Police. " That
elusive freshness so few seem to have, unquestionably is at its best
here. It should provide welcome relief from the story's thrills and chills

Bert Longworth

AC ALL to Duty, might well be the title of this intimate study of Ann
Dvorak, looking up from her script as she hears the summons to work
in her recent picture, "College Coach." Do you suppose that "stool and
chair" perch lends her added inspiration for her work? Anyway, it's all
part of the dressing-room's charming informality, so plainly in evidence

HAT IS IT A

GIRL CAN DO «• -7. •.--••

eyes admiringly on
her face? You'll get a hint by studying
great portraits — notice how the face dom-
inates the canvas, how it holds your gaze!

To be an interesting woman, your face
must dominate your costume — your com-
plexion must have animation — life. You
have to get away from that dull, flat effect
given by so many face powders!

All this sounds difficult — until you once
try Coty Face Powder! It is by actual use
that Coty proves its remarkable superiority
— its superlative smoothness, its infinitesi-
rruilly fine texture. No powder, at any

price, is finer, purer, smoother. None pos-
sesses that lasting, exquisite fragrance
which Coty gives your face!

A girl who selects her own true Coty
tone looks like a glorious masterpiece,
when other women— using dullish, blurry
powders — seem like faded mono-tints,
lifeless and undramatic!

Men abominate, and cosmeticians warn
against, that aging^'powdered look". Men
admire, and cosmeticians endorse, the
rich depth — the Portrait-Tone — which
Coty Face Powder brings its clever users.
When next you buy Face Powder, ask
for Coty — you can trust its flattery!

FACE POWDER GIVES PRECIOUS
^YXhWXX-NFW ANIMATION/

Artists know how tricky skin tones are to
duplicate -yet Coty creates an exact powder
mulch forflesh- and-blood complexions ! Coty
Powder texture is amazing— finer, smooth-
er than fine satin; caressing to the skin.

HERE we have Marguerite Churchill, who doesn't seem much dis-
tressed, even though she's a "Girl Without a Room" — and in Paris
at that — in a film of the same name. But with Charles Farrell and high-
hatted Walter Woolf helping her to find a domicile, perhaps she won't
do so badly. Walter's dressy ways come from his Broadway experience

Close-Ups and Long-Shots

JESTING to the last, Texas Guinan died as fear-
lessly as she had lived. Tex was a kindly, indeed a
lovable, personality. In the days before she be-
came famous she was a frequent visitor at Photo-
play's editorial offices — then in Chicago — and I
learned to know her for the generous, warm-hearted
creature she was.

Things were not going so well for her, yet she
always burst in like a flood of sunshine, driving away
the shadows of others.

SOMETIMES she would rehearse for me her stage
song and dance number, and those were golden
moments to treasure.

There was never much of a private performance, as
you may well guess, for her uplifted voice and the thud
of her flying feet brought every member of the
Photoplay staff, down to the lowliest office boy, in a
circle about her.

And how her blonde hair would fly and her blue
eyes flash!

TEX drifted to New York, where she achieved fame
as a night club hostess, the first woman, so far as
I know, to take up this calling. The Texas Guinan
Club, in New York City, achieved an international
reputation. Celebrities from all over the world
gathered there.

Her cheery greeting to each guest, "Hello, Sucker,"
stamped her individuality like a trade-mark.

Many actresses, famous on the screen and on
Broadway, got their start on the floor of Tex's night
club. Here it was that Ruby Keeler's toes began to
twinkle, Barbara Stanwyck came to dancing fame,
Peggy Shannon made her debut. Just three of the
many that Tex started on their careers.

She had much of the showmanship qualities of
Barnum and was generous in the exploitations of
others as well as of herself.

Tex flourished in the heyday of night club life.
Perhaps the type of entertainment she sponsored is
now on the wane. Tex, however, was always able to
meet life on its own terms. She had the talent to
adjust herself to new and changing conditions.

The last picture she made was "Broadway Thru a
Keyhole," and it is on Broadway that she will be most
missed.

PRINCES visit Hollywood while kings and dukes
ponder over it at home. A friend of mine, traveling
from Paris to Calais, found himself alone in the com-
partment of a coach with an Englishman, who was
entirely concentrated on the mysteries of a cross-word
puzzle.

Finally the Englishman looked up and asked
abruptly, "You are an American, aren't you?"

My friend admitting that he was, the Englishman
said, "Perhaps you can help me. What American
motion picture colony is a four letter word?"

My friend thought for a moment and laughed.
"Why, Reno of course," he answered.

Evidently those English don't know the difference
between making pictures and divorcing actors.

Incidentally, my friend discovered a little later that
the diligent cross-wordist was a duke.

DOUG FAIRBANKS' separation from Mary
Pickford was news that rolled 'round the world.
Now there is reason to believe that the rift in the lute
has been mended and that Doug may resume his
position as Lord of Pickfair.

Mary, for the moment, has shut herself off from
contact with the press. If a reconciliation is in the
air, she is evidently determined to say nothing for
publication that might present new obstacles to a
reunion. Over-zealous outsiders really caused the
separation.

HOLLYWOOD can laugh at itself as boister-
ously, and certainly as sincerely, as any cynic.
You remember "Once in a Lifetime," the picture that
burlesqued studio methods.

In "The Blonde Bombshell," Hollywood gives
itself another Gargantuan laugh. Hollywood's sacred
ballyhoo is kidded unmercifully and every actor plays
his role with unmistakable relish. In this picture
Hollywood says things about itself it might resent
coming from an outsider.

Only the mentally undeveloped take themselves too
seriously.

The sophisticated believe in a front, not for its own
value, but for its effect upon the less informed.

When Hollywood can produce a satirical riot like
"The Blonde Bombshell," no further argument need
be advanced that pictures have grown up.

9.R

REMEMBER the quarter which George Raft
nipped so accurately and disconcertingly in
"Scarface" — the one which brought him his first real
screen fame?

Well, it wasn't a quarter. It was a nickel. Further-
more, George still has it among his keepsakes.

"But," he says, "don't think I won't spend it if
things ever get tough."

IT seems only the other day that no movie actor felt
safe until he had a studio contract locked up in his
safe deposit box. But now the dotted line is some-
thing to be avoided.

This is the hour of the free lance, and an actor can
often make more money by simply agreeing to make
two or three pictures a year for a studio, with the
privilege of making pictures for any company he
desires in the interim.

AL TOGR APH seekers in Hollywood are going en-
tirely beyond the bounds of decency in their
quest for signatures of the stars. At two funerals they
forced themselves to the front at a moment when the
thoughts of the mourners were turned to the sacred
services for the dead.

At the graveside, raucous voices of these intruders
were heard demanding the coveted autographs. At
times the situation grew entirely out of hand.

UNDOUBTEDLY the autograph hunters who
behaved so disgracefully were persons who make
a business of gathei ing and selling signatures of
players.

The stars generously and good naturedly respond to
requests for their handwriting, but if demonstrations
of this sort continue there is likely to be a marked
decline in their complaisance.

EDMUND LOWE is scheduled for a dozen pictures
in several studios and Gary Cooper, Miriam Hop-
kins and Fredric March do not want their options
taken up when their contracts expire. They feel they
could do better on a free lance basis.

John and Lionel Barrymore have arrangements to
work between M-G-M and RKO-Radio; Ann.llarding
and Constance Bennett between 20th Century and
RKO-Radio. And others enjoy the same status.

WHEN you pause to figure it out, "Alice in
Wonderland" has no villain, no hero, no sex
and no love-interest !

And to think — that story lias been getting by for
years !

We dare some intrepid scenario writer to heard a
producer in his den and try to sell him an original
story lacking all these so-called vital elements.

Three guesses — who will land on whose ear in what
alley?

LAST month we told you about the tide of Broad-
way players to Hollywood. While this tide con-
tinues, there is a counter drift. At the present time
there are eighty players who have found their way
back to the New York stage.

Those returning to Broadway are not, however,
necessarily deserting the screen. Some of them are
going into winter stage productions. Others will
alternate between film and stage.

There is, of course, a certain percentage who, for
one reason or another, are through with pictures.

A dozen of those snared by the shrewd New York
impresarios practically received their acting training
in the talkies. It seems to have become a game be-
tween Broadway and Hollywood. Tit for tat.

It all makes for better-rounded, more versatile
actors, so the public is the gainer by this interchange.

WHAT a difference just a few pages make!
When Warners bought "Anthony Adverse"
for filming, the rumor went around the studio that the
book had eight big, rich parts in it. Every leading
actor and actress on the lot rushed out to buy a copy
to see if he or she wasn't just the person to play it.

Imagine their confusion when the volume was un-
wrapped at home and found to consist of no less than
1250 pages! So far none have definitely applied
for roles.

Thev haven't been able to read that fast!

THE talkies introduced the theater's unification,
both in plot and action. Compare the earlier
talkies, such as "The Doctor's Secret" and "The Last
of Mrs. Cheyney," with the silents that preceded the
sound era. A formula was established which, with
few variations, has lasted more than five years.

But now Director Clarence Brown believes a new
trend has set in. He cites his "Night Flight" as a
picture, which, lacking a well defined plot, has never-
theless received an impressive reception throughout
the country.

Pure narrative has always been the literature of the
people. Any interesting story, no matter how it may
wander, always has arrested and always will arrest
attention. Earlier novels of the Spanish, French and
English were nothing more than a series of episodes
strung together, with one "hero" animating the action.

AFTER several centuries we seem to be coming
back to the same point in the fiction cycle.
Hervey Allen's recent romance, "Anthony Adverse,"
is a striking instance of this tendency.

Other recent examples on the screen in accord with
Mr. Brown's idea are "The Power and the Glory" and
"Alice in Wonderland."

Kathryn Dougherty

Photoplay Magazine for January, 1934

EAUTY CONTEST?" Cer-
tainly! Every woman in the
world is entered. Your beauty,
your charm, your skin are judged
by every man and every woman
you chance to meet.

So get yourself a Camay Com-
plexion! It will earn for you favor
and praise. And then you'll thank
heaven for a soap like Camay which
imparts to the feminine skin a lovely
peach-bloom texture.

"The Soap of Beautiful Women is
an excellent name for Camay," wrote
a girl from Washington, D. C. "Every
girl I know who uses Camay has a
lovely clear complexion."

Get a Camay Complexion and
You'll be Admired Wherever You Go

"My skin is so much fresher since
I've been using Camay," said a young
New Yorker. "I admit I admire
myself in the glass."

THE "GOOD TASTE TREND"
IS ALL TO CAMAY

Try Camay yourself! Use it faith-
fully for one month! It's changing
the soap habits of the nation! Every

day thousands and thousands of
women — forsaking all other soaps
— are taking up Camay.

Perfumed as if it came from
Paris — smart as the newest fashion
— Camay looks and smells high-
priced. Yet you'll be delighted to
know that it costs but a trifle. Get
a supply of Camay today !

Another Beauty Contest Won! The unforgettable thing about this girl is her lovely
Camay Complexion. It wins attentions— compliments — in her daily Beauty Contest.

Camay is the modern beauty soap — pure creamy-white and
lavish of lather. Wrapped in green and yellow, fresh in
Cellophane. Use it on your face and hands, and in your bath!

Copr. 1933. Procter & Gamble Co.

CAMAY

the Soap of Beautiful Women

PHANTOM DADDIES

The wistful little chap above is Kenyon Clar-
ence Sills, who some day may see his famous
father in the last role Milton Sills played —
the ferocious Wolf Larson in "The Sea Wolf"

KENYON CLARENCE SILLS, bow and
arrows in hand, played in the beautiful
gardens which his father, Milton Sills,
had planted. Kenyon is six years old.
Like the sons of other movie stars who are
deceased, his is a strange predicament. If he
attends a picture show, he faces the possibility
of suddenly being confronted with a re-issue of
some old film in which his father played. There,
daddy would be seen very much alive, portray-
ing human emotions. And yet a phantom that
at the end of the play would disappear into no-
where. The apparition would, of course, give no
heed to the fact that out in the audience was a
little chap who used to climb on his knee to
"ride a horse to Banbury Cross"; to pillow a
tousled head on his broad shoulder while the
sandman was coming; or to hear a fairy story.
No, the figure on the screen would take no
notice and the little fellow out front would have
driven deep into his heart the feeling that he was
seeing his father and not being recognized. Not
a nod, not a smile, not a sign of recognition,
whatsoever. And that would hurt.

It is a situation which has caused hours of
anxiety and dread to the widows of deceased
stars in Hollywood.

"Up to the present time," Doris Kenyon told
me, "our boy has seen but two pictures —
Mickey Mouse and one of my own. I fear to
have him attend the theaters, for there is no
telling what he may see."

Securely locked in a storage vault,
Doris has a print of "The Sea Wolf,"
the last picture Milton Sills was to
make. The film was given to her by the
Fox Company shortly after the great
actor's death in September, 1930.
Kenyon, the son, was then just three
years old.

In "The Sea Wolf," Milton played
the role of Wolf Larson, the most famous
fictional character created by Jack
London — a ruthless, hard-boiled, two-
fisted sea captain who enforces his power
with brute strength. He beats down his
ship's officers, quells uprisings with a
club, throws his cook to the sharks. He
is seen in the dives of Singapore and the
hell-holes East of Suez, drinking rum,
associating with women of the water-
front and bullying the beachcombers.
In the end, his crew mutinies, his eyes
are seared with a hot poker, and his ship,
"The Ghost," becomes his funeral pyre.

of the SCREEN

Their children fear
that they will unex-
pectedly meet them

By A. L. Wooldridge

"It's one of the most terrifying pictures he ever
made," Doris says. "At the same time, it's a magni-
ficent piece of artistry."

Will Doris Kenyon ever show this picture to her son?
Would you, if you were in her place? Will she chance
leaving an impression on her boy's mind that his daddy
was that hulking, bullying, snarling "salt" seen driving
men about in "The Sea Wolf"?

Kenyon, a manly, courteous little fellow, had drifted
back from his archery and was listening.

"Kenyon," I said, "do you remember your father?"

"Indeed I do," he replied. "I remember him well."

"And what do you recall most?" I continued.

Without a moment's hesitation he said:

"His carrying me in his arms through
the gardens and telling me about the
flowers — and the trees, and the things
that grow."

"I purpose keeping remem-
brances of his father about him
always," Doris said.

She arose and brought a book
which, she said, is her son's in-
dividual property. On the first

Wally and Elsie Ferguson
from "Forever." Dorothy
Davenport Reid has a print,
and some day, if Wallace
Jr. wants to, he'll see it

page is a picture of Sills holding
Kenyon in his arms, a baby. It
was the last one taken of the two
together. Then there was a
letter written by Prof. Albert
Einstein, another by George Arliss,
a third by Sir James Jeans, and so
on. A carefully preserved letter
written by Milton who was aboard a
train the night Kenyon was born, said, in
part:

May 6, 1927.

Wally Reid, Jr.
has more than a
hint of his noted
father in his looks.
He remembers
Wally, too — but
what a heartache
it gives him to see
his father's films!

Fred Thomson
was one of the
cleanest men that
ever graced a
screen. But his
son may at some
time see Fred as
the notorious! out-
law Jesse James!

Kenvon Clarence Sills.

Dear Sir: As I have not yet had the pleasure
of meeting you. I address you thus. (There fol-
lows a beautiful tribute to the mother who
suffered so to bring him into the world. The
letter concludes as follows:)

As for my part, we will be rivals for your
mother's affections. You will be the well-spring
of our happiness, whereas I will merely be a tiny
rivulet from which she will occasionally quaff.
May all the blessings attend you from this
moment into a very ripe and mellow old age
when the undersigned will be but a memory —
if that.

Your Father.

A letter from his mother also is in the treasured

book. [ PLEASE TURN" TO PACE 102 ]

"What is a house with-
out a baby?" said Mrs.
March. "Well," I said,
"we have a baby. You
remember, don't you?"

Twenty Years After

IT'S really only five years since my
advent into the movies, but 1
wanted to get a lift into the story
of those years, so I lifted my title
from Alexander Dumas.

Yes, it's five years since I signed
my contract. For me, they've been
years of quite good health, despite the
contention of my enemies that they've
seen me looking pale at option time.

Now, half a decade is a long time, anyway you look at it, so
I feel it's high time to review my career on what romanticists
call "the silver screen," but which is really a square of tightly
strung glass beads.

Which only goes to show that things aren't always what
they appear to be. Like me, for instance. I got into the movies

"Why, Freddie March
hasn't been that long
in pictures!' No,
no, but read on now

because I once portrayed John Barry-
more in a play and people said that I
looked just like him.

It used to rankle me (and if you've
never been rankled, you don't know
what you're missing) when people
would say: "I saw you when you
played the part on the stage. You
looked just like Barrvmore." Not that
I wouldn't rather look like him than
like a lot of other people I could name, but it was much the
same as coming to Hollywood after winning a newspaper con-
test and having people point at you and say: "You know who
that is? That's the Hyena Man." I didn't want to be John
Barrvmore or the Hyena Man.

When I signed my contract, I [ please turn to pace 107 ]

By Fredric March as told to Cromwell MacKechnie

rrPll Be at Doc Law's

vr>

Revealing where Will
Rogers spends his
evenings, and why

By Kirtley Baskette

"EP," declared Doc Law, diverting his gaze from the
artistic luster he was applying to an ice-cream soda
glass for a squint at the door, "I wouldn't be a bit sur-
prised to see Bill happen in any minute now. About
time he's showing up."

When Doc Law speaks of "Bill," he means his crony, Will
Rogers, who lives a ways up the canyon from Doc's drug-store
and refreshment parlor, just off the Coast Highway at the
mouth of Santa Monica Canyon, out of Hollywood.

Each day, past the inconspicuous little beach corner where
Doc's drug-store, a barbecue counter, souvenir stand and
sundry other establishments invite ocean bathers, llash the
shining automobiles of Hollywood's stars, en route to Malibu,
up the coast. Few, in passing, even notice the sign around the
corner which reads, "Burton C. Law, Drugs."

Yet Burton C. Law, erstwhile motion picture character
actor, now Doc Law, pharmacist, corner drug-store pro-
prietor and buddy of Will Rogers, was making pictures before
most of them had ever seen a camera, when Director Frank
Borzage was getting from two to five dollars a day doing stunts,
when Robert Leonard and Frank Lloyd were blood-and
thunder flicker heroes, when Harold Lloyd was an
ambitious pest of studio lots.

But all that was almost twenty years
ago. And Doc Law has been running his
drug-store now for about eleven years.
In fact, Doc had sort of forgotten
about his days as a screen actor,
until Bill Rogers moved into "the
neighborhood," up the canyon a
stretch, some six years ago, and
started dropping in of evenings
just to talk over old times, sit a
spell and discuss politics, may-
be, watching the people who
are continually flowing in and
out of the store, remarking
about this and observing that,
while Doc handled the desultory
evening trade.

In those six years, it has kind
of gotten to be a habit for Will,
when he feels "on the loose," to
mosey down the canyon to Doc's
drug-store, where he doesn't have to
dress or put on any airs, where he can
sit unnoticed back in the prescription
room, among the paregoric and pills, the
laudanum and elixirs, and peek through the cur-
tains at a plain world he finds every bit as absorbing as
Hollywood's dizzy sphere of which he is somewhat reluctantly a
part.

"I guess it must have been about fifteen years ago that I
worked with Bill in a picture called 'Honest Hutch,' " remi-
nisced Doc Law. "I recall I played an Italian character, but
Bill was the whole show.

" He always has been just naturally funny — still is. Why, it
seems like just the way he says things makes them funny. I
don't think he ever thinks much about what he says before he
says it, either. Just spontaneous. Don't believe he ever par-
ticularly planned to be funny in his life. That stuff he writes

These two cronies have a
gay time reminiscing. Will
Rogers and Doc Law, old-
time character actor, now
proprietor of a drug-store
in Santa Monica Canyon

for the newspapers — he just sits
down and writes it right off, you
can bet, as easy as he talks.
"How does he talk? Why, just
like he does in his pictures. Maybe
not so much emphasis on that Okla-
homa drawl, but pretty near the same.
"The other night," remembered Doc,
"Bill came in with Mrs. Rogers. Wasn't
anyone in the store except myself and Mrs. Law.
" 'Hello, everybody!' he said. 'Well, we got the kids
all put away in their stalls, and me and the wife are on the loose.
Can't tell where we'll end up, might end up anywhere — maybe
in jail!'

" It's real amusing sometimes the plain way Bill talks to
people he meets. I remember not long ago, I was alone here
one night when an Irish priest came in. While I was fixing him
up, he mentioned that he understood Will Rogers lived around
here. Right up the canyon, I told him.

" Well, at that he got excited. It seems that Bill had been in
Ireland when they had a bad fire over there somewhere, and he
had flown right over to the place, [ please turn to page 93 ]

mazing Story Behind

First exclusive story, told
by Laurence Olivier, who
lost his role to Gilbert

By Virginia Maxwell

ONCE in a lifetime, out of the kaleidoscope which is
Hollywood, there comes an epic real-life drama, a
quirk of fate so strange that it is almost unbelievable.
This is what really happened to John Gilbert.

A chance remark, tossed lightly by an assistant electrician
and intended to be funny, was the turning point in John
Gilbert's life. The axle which fate supplied to lift him high
on the wheel of good fortune once again — to play opposite
Garbo — from the depths of movie oblivion to which he had
sunk in the last years.

For the first time, this inside story is now told. By the
actor who was brought six thousand miles on contract to
play opposite Garbo in "Queen Christina," only to lose
the role to Gilbert.

Why? And how did it happen?

It's a fascinating story, one of the few real-life dramas of
the studio which come from Holly woodjonly too infrequently.

To understand the great moment which fate threw to
John Gilbert, we'll have to go back a few months.

Garbo's new contract, in which she is permitted complete
okay of who shall play as her lover and who shall not, had
just been signed on her return from Europe. Garbo looked
at many "tests." And could not find the type of lover she
demanded in "Queen Christina." Then they brought in
films and ran them off for the great Garbo to study.

"Westward Passage," in which Ann Harding was starred,
flashed upon the screen of M-G-M's
private projection room. In it
played a personable young English
actor — Laurence Olivier.

Garbo signalled for the film to
stop. And in one queenly command,
Laurence Olivier was decided as
the man to play her screen lover in
"Queen Christina."

METRO consulted their files. He
wasn't in Hollywood. Olivier
had returned to London and was
starring in a British stage play. He
had always been a stage star and
pictures had been merely a fling
for him.

London Metro offices contacted
Olivier that very night. And be-
fore the first light of dawn had
pierced London's famous fog, Laur-
ence Olivier was signing his name
on the dotted line to one of the
most enviable picture contracts
ever offered. It meant giving up
his role on the stage. It meant a
six thousand mile jaunt, across sea
and land, to Hollywood. He made
the trip willingly — eagerly, followed
by the trumpet and fanfare of a
world-wide publicity campaign.
Olivier was Garbo's new screen
lover, and the world must know.

¥ ■

KM g

1 ■

■ A

There seems to be a magnetic
harmony between them which
makes their love scenes real

What happened from then on is Olivier's
own story — told exclusively for the first
time to Photoplay.

"The day I was introduced to Greta," he
said, in his boyish, naive way, "I realized
at once she was going to be difficult to know.
She's shy as an antelope. And when I tried
to warm her to my own personality with a
little conversation, she answered only in
monosyllables.

" Garbo is really the mythical person
people have imagined," he explained quickly.
"She seems to live entirely within herself,
unaffected by any of the little things to
which most mortals are humanized. A rare,

It was a strange twist of fate that put Gilbert
in "Queen Christina." And all on the set
admitted that he casts a magic spell over Garbo

exotic person, yet so different from any other
woman in the world, that she is a fascinating
mixture of shyness and mystery.

" Garbo was wearing loose lounging pa-
jamas, a cigarette hung between her slender
fingers, a script of the picture carried con-
stantly under one arm.

" She never rehearses. But for this unusual
role, the studio executives had persuaded her
to do some rehearsing before the actual 'takes.'

"The stage was set for our most important scene — when, as
Don Antonio, I meet Garbo in her boudoir at the inn and there
discover the warm, tender woman beneath the boyish mas-
querade.

"And this is the part of my story I shall always look back
upon with a mixture of amazement and disappointment.

"The director explained that I was to come forward, grasp
Garbo's slender body tenderly, look into her eyes and, in the
gesture, awaken the passion within her — that passion for
which she is later willing to give up the Swedish throne.

"I went into my role giving it everything I had. But at the
touch of my hand Garbo became frigid. I could feel the sudden
tautness of her; her eyes as stony and expressionless as if she '
were a woman of marble.

"Rouben Mamoulian, ace director who knew exactly what

he wanted, came quietly over and spoke to Garbo. He

asked her to warm up to me — to try to bring some fire into

her eyes — some expression of tenderness into the lovely

curves of her rich, warm mouth.

"We tried it again. But Garbo was unmoved. She, the

great actress, whom even-one expected to go into this

tender scene with convincing abandon, was as frigid to my

embrace as if she were a woman of stone.

"Mamoulian came over again. He asked me to talk to

Garbo — off the set. To try to break down this intangible

barrier which had risen between us; this cross current of

magnetism completely out of harmony with each other.

We walked away a little; smoked together, tried to talk

small talk. Then we came back and went into the scene

again.

" Garbo froze up as before. The director, realizing with his
keen sense of screen values that Garbo's attitude would register
cold, was desperate. Suddenly he flung down the script,
called a halt on everything and turned to his assistants.

"In heaven's name, is there any man Garbo will warm to?"
he cried.

One of the electricians, trying to be funny, shouted that
Gilbert was the only man Garbo ever went ga-ga over.

"Get him! Get him here," the
director shouted. "Get Gilbert
and let's get some emotion into
this scene!"

"They sent for Gilbert then.
To use his presence merely as a
stimulant to Garbo's emotional
depth.

" T TOOK off my costume and John
J- Gilbert got into it. As Don
Antonio, he looked the part. And
as I stepped aside, ready for Gilbert
to warm Garbo to the role, an
amazing thing happened, Garbo's
face softened; into her eyes came a
strange, beautiful light. Some-
thing seemed to be happening deep
down inside her. A magic spell,
this emotion which John Gilbert
stirred within her when he took
Garbo in his arms and whispered
those tender phrases.

"We were watching the real
thing, an astonishing reaction —
Garbo's thrilling to the man she
once had loved.

"The director was delighted.
And what was to have been merely
a rehearsal between Gilbert and
Garbo became a real shot. Gilbert
took my place. I relinquished the

[ PLEASE TURN TO PAGE 101 ]

Laurence Olivier, who came 6,000
miles to play the part, then will-
ingly relinquished it to Gilbert

SUEEN CHRISTINA pronounces a benedic-
tion upon her people before she abdicates
the throne of Sweden. With outstretched arms
they pleaded with her to reconsider. This is
(me of the most intensely dramatic moments
in the great movie story of the magnificent

Swedish queen. And Garbo, as Christina, has
the most impressive dramatic role of her
career. Gowned in pure white, there is a classic
beauty in the simplicity of her appearance. On
her head she wears no crown. Down from her
throne, she faces her despairing subjects.

On the extreme right of the picture stands
the handsome Spanish envoy, Antonio Pimin-
telli (John Gilbert), whom the queen loves.

Behind A ntonio, his head bowed with sorrow,
is the Chancellor Oxenslierna (Lewis Stone),
always faithful to Christina, and fearful now.

I'hoto liv Charles Rhodes

The only happy face in the entire assembly is
that of the scheming Magnus (Ian Keith).
Standing at the corner of the stone pillar, wear-
ing a richly embroidered coat, he might be
taken for the queen's lover, Antonio, so closely
do they resemble each other.

Queen Christina's abdication is a matter of
history. It took place in the latter part of the
Seventeenth Century. For the movie pro-
duction, Director Rouben Mamoulian has in-
sisted that the throne room be carefully re-
produced and that every detail of Swedish

court life be faithfully followed. The picture
is true to its time. No historian could quibble
with its authenticity.

It is a glorious role in a beautiful production
for Garbo — and one that she has cherished for
a long, long time.

2 35

How Sylvia Changed Ruth

A photo of Ruth, made three years before she went
to Hollywood, while playing in "The Little Minister" on
the New York stage. Her nose was broad and rounded
at the tip — quite all right on the stage, but bad in films

ONE morning I went to treat Elsie Janis and found her
mother, who was alive then, almost in tears.
" Ruth is sick! " she said before I had time to take off
my hat. "You must go right to her.

"It's Ruth Chatterton." And with that she practically
shoved me out the door.

Ruth had just come to Hollywood then. I knew she was
living in Marie Prevost's house.

I rang the doorbell and a maid opened the door a crack. The
house was almost dark. Silently she beckoned me up the stairs,
and pointing to a bedroom door she whispered that I might go
in. The room was pitch dark. Every shade was drawn.

"How do you do?" I said to the darkness. There was no
answer.

I went over and pulled the curtains open a little way. Then
I could see someone lying in a big bed, her face entirely covered
with gauze.

"Good heavens!" I said. "What's wrong with you? You
look like an Egyptian mummy."

Slowly Ruth raised herself up on one elbow and lifted a
corner of the gauze to peep out at me. "Sunburn," she mur-
mured. "And there wasn't even any sun. Richard Barthel-
mess and I were out fishing — five hours on the water. I got
this. It's dreadful."

That was my introduction to Ruth Chatterton.

When she was cured of the sunburn I looked her over for real
defects.

Her nerves were shot. She had come to Hollywood from the
stage. This was just before talkies came in and she had not
been able to get a job. Fine actress though she was, her nose
and her figure held her back.

THEY told her at the studio that her nose photographed badly
and that discouraged her. Also, she had lumps of fat above
her hips at the back, large calves and her arms were too thin.
I shall never forget how relieved she was when I told her I
could help her — for she knew that her whole future depended
upon it.

Now, I have hesitated telling what I did for Ruth Chatter-
ton's nose, because I'm afraid that if you girls try to do it, you
won't do it right. But in these articles I have promised to tell
everything I know and I'm not going to stop at this stage of the
game. I'm going to let you in on the secret of shaping noses.
But it is something that has to be carefully done. And if you
do it yourself — and you can do it yourself — you must promise
that you will follow directions. Guard the secret well, girls.
I've never told it to anyone before!

Ruth had a little fatty bump on the end of her nose and this
is what I did: If you try it, be as careful as if you were modeling
something beautiful in marble. Place the forefinger of each
hand on either side of the bump. Then press very, very gently.
You must not press hard for that will
make your nose red and bulbous. Do
not press for more than half a
minute at one time. But do it
over and over each day. Then
with the thumb and fore-
finger of the right hand
work down the nose from
the top of the bridge
very gently and lightly
massage the bump of
fat you want removed.
In other words, model
your nose as if it were
clay, but model it with
a very slight pressure.

Now work on the rest
of the face, for those
glands affect the nose.
With the middle finger
of either hand gently
rub from the side of the
nostrils outwards in a

Chattertons Nose and Figure

«'

' YLVIA has beautified many of
►Jour most famous stars. Every
month, in PHOTOPLAY Magazine,
she tells you how she did it, and
how you can work the same
beauty miracles for yourself, at
home. She will be glad to write
you personally, too, without
charge. On page 92 are some of
her answers, and directions for
getting advice free from this
most famous masseuse.

slightly upward movement. When you're doing this do not rub
the nostrils but merely around them.

I do not believe in hot and cold application, alternated. It
makes the skin flabby. And I know that ice should never be
used directly upon the face, for that dries and hardens the skin.
However, cold water is excellent and will put plenty of pep into
your skin.

So, in the general nose treatment, include this: Wash the
face in luke warm water and soap suds. Rinse the suds off with
warm water. Have two or three small Turkish towels handy.
Soak one in ice cold water and spread it over the face. As soon
as the coldness goes out of one towel, use another. Spend about
fifteen minutes a day on this treatment. You'll find that it will
take away that bulbous look from the nose.

It all takes infinite time and patience — shaping the nose —
but anyone can do it.

As for Ruth's figure — it was just fat in spots. She did not
need to reduce all over. In fact, her arms needed building up.
So I did not put her on a strenuous diet. The way I took off the
fat from the back of her hips and the calves of the legs was by
stretching. I made her relax and then I stretched her. You can
do it for yourselves like this:

LIE on the floor. Relax. Relax every muscle and feel your
body becoming heavy, as if it were going to sink right
through the floor. Then with your muscles still relaxed begin to
stretch slowly, and feel an enormous pull. Stretch the muscles
that you want reduced. It's the lazy girl's way of reducing,
but it shows results.

It is best to lie on the floor on your back while stretching,
with your toes caught under some heavy piece of furniture. Or,
you can make your husband or a girl friend hold your feet down.
Then, with your feet held, pull and stretch, pull and stretch.
Do you feel that getting at the fat? You bet you do!

Now you've got to concentrate on the muscles that need to
be stretched off. You can feel the muscles pulling in your
shoulder blades. You can feel the pull in the calves of your
legs and in the hips. When you feel that, you'll know you're
on the right track.

Of course, there will be stubborn places that won't respond.
These must be pinched and squeezed off.

But I had to do more than reduce Ruth. I had to try to keep
her cheered up. She could not understand why she wasn't able
to obtain a job in pictures.

"You're a swell actress," I used to tell her. "You've told me
so yourself." I had seen her on the stage in "The Devil's Plum
Tree," and I knew she was good. "Don't let Hollywood get
you down." I saw her the night she got her first chance — in a
silent picture wdth Emil Jannings. He had seen dozens of
tests of other actresses. When he saw Ruth's test he said,
"The girl in the picture is supposed to be naughty. This girl
looks the part." [ please turn to page 92 ]

Before Ruth Chatterton got a movi e contract, Sylvia was
called in to beautify her nose. In this picture, taken
after she became a star, you will notice how Ruth's
nose became well-shaped, correctly narrow at the tip

NO man, they say, is a hero to his valet. And the guy
who serves the human race while they eat is pretty
well up on the lowdown, too.

So Joe Mann, the celebrated Hollywood maitre
d'kotel, knows the screen stars pretty much as they are. Joe
has presided at their table for years; for eighteen years, to be
exact, at Hollywood's famous dine-and-dance resorts. Cur-

Joe Mann dower left-hand corner) is a celebrated maitre d'hotel who sees the screen stars as
they are. Above Joe is Richard Dix — the biggest eater Joe knows. Charlie Chaplin and Paulette
Goddard are way up in the corner — because they always ask Joe for a table away from the
crowds. And that's Charlie Farrell laughing with Virginia Valli, in the center. The family circle
on the upper right is Eddie, Julia and the five little Cantors. And the gentleman watching them
is Bill Powell. Down in the lower center is Von Stroheim's profile, with Lilyan Tashman next to
him and, right around the circle: Ann Harding, Chevalier, Ruth Chatterton, Frank Woody,
Helen Twelvetrees, Mary Pickford, and Mary Brian talking to Dick Powell. The quartet occupy-
ing the front limelight are newlyweds Hal Rosson and Jean Harlow, and Franchot with Joan

rently Joe is host at the Blossom Room in the Roosevelt Hotel,
whither, at some time or another, most of the stars wend their
hungry way.

Of all the scintillating, captivating personalities of the silver
sheet, Jean Harlow is Joe's favorite. In a general sort of way
he might be said to have something of a crush on her, and all
because she's such a perfect lady with a knife and fork.

"Miss Harlow generally comes here to dinner with her new
husband and a party of friends," said Joe. "Never alone.
And does she appreciate good service! More than anyone I
know! If anyone in her party fails to leave what she considers
an adequate tip, she leaves it out of her own purse — and is
she the autograph seekers' idea of heaven! It's really a won-
der to me how such a gracious lady can portray the sveltely-
sinning screen ladies she does. She must be a wonderful
actress!"

You will notice that Joe speaks of Jean mostly in exclamation
points.

Another of Joe's favorites is Mary Fickford, whom he says
is not only queen of Hollywood as a whole but of the Blossom
Room in particular. Her table is a regular court, with the lords
and ladies of filmdom bending the knee to Mary's courtly,
regal little bow. But where Jean loves chicken Mary prefers
fish — broiled salmon steak above anything. And eats scarcely
enough of that to feed a humming-bird.

" Charlie Farrell is the friendliest person who ever comes
here," Joe declares, "while Ann Harding is the ritziest, and

ernes :

By Henry M. Fine

[LIU S T K A I B 1) 1! V F 1< A \ K D O B I A S

Bess Meredyth, screen writer and wife of Director Michael
Curtiz, the most lavish hostess. Warner Baxter is by all odds
the most democratic — half of the time you find him in the
kitchen shaking hands with the help; Greta Garbo is the most
dignified, and Mary Brian the sweetest."

Ann Harding, by the way, goes for the solid foods — steaks
and fried chicken — which is scarcely indicative of those

spirituelle roles of hers. But the biggest eater who patronizes
the Blossom Room is Richard Dix. A filet mignon is just an
appetizer to him. He eats — and eats — -consuming sirloin after
sirloin, broiled rare, with copious gobs of corn and baked
potatoes. When he's finished, he just gets up and goes.

"See you again, Joe," he says. But Joe knows it's time
to lay in another side of beef. [ please turn to page 98 ]

Tex's last movie — her farewell to us
— was "Broadway Thru A Keyhole"

By Nina Remen

And Now Taps Sound for Tex!

TEX GUINAN'S passing away has shocked Hollywood.
They mourn her passing as a great character of Broad-
way. And a dozen top-notch stars of pictures today are
reminiscing, as into their memories creeps the big
moment of their early days — that moment when Broadway's
big sister gave them a first chance and made audiences respond
with her ballyhoo bark of: "Give the little girl a great big
hand."

There's Ruby Keeler, for instance. And Barbara Stanwyck;
Peggy Shannon, whose red hair dazzled the Guinan night club
guests; Claire Luce, blonde and pretty who married a million-
aire and went into pictures after the Follies; Pearl Eaton,
whom Ziegfeld found at Guinan's club and who graduated
from the Follies into the studios, later to marry Richard C.
Enderly with one of the most dazzling weddings Hollywood
has yet to know; Bee Jackson, the shimmy queen ofTex'sown
cabaret, who later became nationally famous as a dancer.

All looking back to those first days when, as starry-eyed
youngsters, dazzled by their first glimpse of Broadway's inner
circle, they thought Fate had showered them with gifts be-
cause the great Guinan had singled them out for a try-out.

Yes, there are two other well known Hollywood celebrities

who had their first opportunity under Tex Guinan's guiding
hand. Sigmund Romberg. You've heard his delightful, en-
chanting melodies in pictures and on the stage since those
days — an artist in a class by himself. Remember "Viennese
Nights" and "The Desert Song"? Only a little while back, a
piano player in Guinan's first slummy ;joint over on the East
Side, Romberg was one of many theatrical folk out of work
who could eat if they'd give a little free entertainment. Last
year Romberg received $3,000 for a half hour radio broadcast.

And Eric Von Stroheim — the great director whose pictures
have been hailed as masterpieces by critics. Von once worked
as a waiter at Guinan's first club which she called "Gypsy
Land."

Von Stroheim wasn't really a waiter, however. He was a
great artist, struggling for recognition. But even great artists
get hungry once in a while. And Von found sustenance in
Guinan's recognition of genius long before any other person
realized Von Stroheim had something real to offer.

He waited on tables. And in between the coming of patrons,
he and Tex Guinan engaged in long, fascinating talks about
movies and what could be done with this medium of expression
if only one might get a chance to [ please turn to page 100 ]

A host of Hollywood stars owe their start to the Night Club Queen

Elmer Fryer

TLJIS name is Chief Thunder Horse, of the Sioux tribe. Under the
bronje make-up, and in spite of the black braids, you may recognize
Dick Barthelmess. Dick was recently inducted into the Sioux tribe and
made a tribal leader by the famous chief, Standing Bear. As the Indian
hero of "Massacre," Barthelmess should give a convincing performance

a vies

MARION
DA VIES has
for many years been
queen of Holly
wood's society. And,
as befits a queen, she
lives in a palace and
here friends are
royally entertained

THE marine room is
one of the more in'
formal rooms of the house
— where small parties are
held and games are
played. It is entirely
panelled in genuine Eng'
lish walnut and furnished
with fine period pieces.
Note the massive beauty
of the big library desk

THIS is the main din'
ing room, used for
formal dinner parties.
The paintings are all
original old masters.
These and the beautiful
Oriental rug give the
room a rare richness of
color. The dazzling array
of silver is old English
sterling serving pieces

House at Santa Monica

THE lovely lady
of the house,
Miss Davies, divides
her time these days
between social life at
home and work at the
studio. She recently
finished work on
"Going Hollywood"

Photos by-
Clarence Sinclair Bull

THE music room, one
of the smaller rooms,
is brightly decorated,
with patterned draperies,
a lovely white mantel'
piece, and a marble-top
table. Ceiling is painted
with murals. This room,
like the others pictured
here, commands a splendid
view of the ocean front

THE gold room is the
most elaborate room
in the house. The walls
are decorated in gold-leaf
against a gold back'
ground. The draperies
are gold brocade and the
chairs are upholstered in
the same material. It is
the room used for very
formal social functions

Elmer Fryer

QHE'S known as the hard-luck lady of Hollywood, and the pluckiest
girl on the screen. Every time things look bright for Mae Clarke,
there's an ambulance just around the corner. But in spite of illnesses and
tough breaks, Mae retains her beauty and her courage. Here's hoping
1934 is full of happiness for her. Her next feature is "Lady Killer"

Look Out, Jack, for Ma

r>r>

If she grabbed the
Oakie spotlight in
her first film
what's coming?

By Sara Hamilton

"OW, Ma, listen."

'Now, look here,
Jack Oakie, you listen.
Why can't I be a movie
star if I want to? Go on and tell
me that. Give me three good
reasons."

"Well— "

"Just as I thought. You can't
think of a thing to say. Not a
single reason." Mrs. Evelyn Of-
field (she's adopted the name
Oakie for her screen name) peered
in the mirror.

"When you come right down
to it," she observed, "Jean Har-
low's hair is no whiter than mine.
Is it?"

"Aw, Ma, you — "

"Hush. Has Mae West any
more curves than I've got? Tell
me that, Jack, go on and tell me."

"Well—"

"Keep still. And tell me this.
Has anyone had more experience
at playing your Ma than I have?
Your own mother? Now, answer
that one."

"Well—"

"Stop talking so much. I
know I'm sixty-five, Jack. I
know that and I'm proud of it.
For let me tell you, young man,
all the best actresses in this busi-
ness are over fifty. Look at
Marie Dressier. Look at May
Robson. Look at Alison Skip-
worth."

"Ah, now, Ma, you look at
them, I — "

"And there isn't a young whip-
persnapper in the movies half as
good. Say something. Don't sit there like a bump on a log."

"Well—"

"Good. It's all settled then. You need a mother in this
new picture 'Too Much Harmony' and, my boy, you've got
one. Right here at home. And I'm playing the part in the
picture. Always wanted to be a movie star anyhow, so I
might as well start now while I'm still young, and get going.
Now, don't you think I'm right?"

"No, I—"

"That's a good boy. I knew you'd agree. Now, when do
we start?"

AND so began the career of one Mrs. Evelyn Oakie.
And once begun it kept growing like a snowball rolling
down hill. Stealing all her son's thunder and loving it. All
Hollywood began chuckling and grinning at the comical and
unique situation of having one's own limelight taken away by
one's own "ma." Was it fun?

For instance, into the Paramount commissary at noontime,

Right to the center table marches Mrs. Oakie, stopping here and there to sign
autographs. Only way Jack gets any attention these days, is by being nice to "Ma"

with its quota of writers, reporters and amazed spectators,
would sweep Ma Oakie. Head high. Blue eyes twinkling.
Her grand face covered with make-up. Beaming. Right to
the very center of the dining-room, to the most conspicuous
table marches "Ma." Bowing, smiling. Deliberately creating
an entrance. Oh, boy.

And while every eye was focused on "Ma," in would steal
Jack. Unobserved and unsung. Usually the center of attrac-
tion, he now would sit strangely quiet and subdued. Uncertain
as to just what had happened all of a sudden and why. While
"Ma" signed dozens of autographs and blew kisses to the
balcony.

Was it a riot? Hollywood's famous wisecracker with nothing
left to say.

"Now, Ma," Jack observed the first day she reported to the
studio, "I don't want you to think anything I do around here
is strange or anything. I mean I'm kinda used to being my-
self, and if I feel like wading in the fish pond — why, I wade.
They kinda expect it of me, see? [ please turn to page 98 ]

Mi A * The Monthly

York S1TIJ10U71CITI& Broadcast of

\>f IRIAM HOPKINS and King Vidor were
dining in the Beverly Hills Brown Derby
of a Sunday Eve — but not together. With
backs very pointedly turned. Miriam was in
a party with Lubitsch, and King with a non-
professional young lady.

Apropos of the Vidors, Eleanor Boardman
Vidor is in Europe, much in the company of
Harry D'Arrast. There is a strong rumor
they will be married.

TWTARY ANN is one of the largest
elephants in captivity and usually
takes direction like a veteran. But
she felt a trifle stubborn the other
morning during a scene in "Jimmy
and Sally" — and you know what a
lot an elephant has to be stubborn
with. . . .

Finally up spoke Jimmy Dunn,
with a bright solution.

"Why don't they put her on
casters?"

N argument between Cary Grant and
Virginia Cherrill nipped their marriage
plans in the bud.

Constance Bennett and Gilbert Roland
at the preview of their film, "After
Tonight," the first photo of them taken
together off screen. Gilbert doesn't
always attend previews without ''a
necktie. The Marquis was in Paris

NOW that it has been settled that the
costumes Ginger Rogers and twenty-
four chorus girls will wear in their
version of Sally Rand's fan dance will weigh
one and one-half ounces, instead of one-half
ounce, (each, of course) Paramount has put
in an order for forty-seven mirrors, four feet
wide and twelve feet high, to be used to the
best advantage in the dance.

•"THE actors wearing masks in "Alice in
■*■ Wonderland" couldn't hear through them.
They had no way of telling when the other
characters had stopped talking, so a wig-wag
system was invented, using lights. The red
light started the Duchess; a white light, and
the Cook went into action.

V\ THEN Adrienne Ames divorced Stephen
*^ and married Bruce Cabot at Carlsbad,
New Mexico, she was scheduled to play in
Paramount's, "The Trumpet Blows," but has
been replaced by Frances Drake, the English
stage importation. Coincidence or? —

J, 6

Little Maria Sieber, who played the role of her mother Marlene Dietrich,
as the child Catherine the Great of Russia. Now the truant officer s
after her, but she's finished her part, so what has she to worry about?

Hollywood Goings-Oni

^\X BAER is a knockout in that knockout
picture, "The Prizefighter and the Lady."
He's burning up hearts, too, right and left and
he's doing a Bill Powell-Carole Lombard, for
Max took his ex-wife, Dorothy Dunbar, to a
preview of his picture!

pATSY RUTH MILLER is back in Holly-
wood, after shedding a husband and ten
pounds in Europe. The new heart is Abe
Lyman, the old maestro.

TIMMY DUNN doesn't seem to have the
luck of the Irish. On the way to the marriage
bureau Lona Andre thought twice. They re-
turned without it.

"E^THEL GREER, the circus fat
"^lady, weighs 637 pounds; her
husband only 140.

When Ethel was working in Clara
Bow's picture, "Hoopla," the hus-
band visited the set.

Watching Clara do a hula dance in
a grass skirt, he said:

"I never could see why some fel-
lows go for these skinny girls."

Thelma Todd found the Three Little Pigs— all stuffed— in a theater lobby,
and started to take them home. But the big, bad wolf, in the person of the
theater manager, caught Thelma, and the pigs are back in the lobby

A small fortune has been spent on these
youngsters, and yet they remain charm-
ingly unaffected. They are Sydney and
Charles Chaplin, Jr. who appear totally
unconcerned about court battles be-
tween parents Charlie andLita over them

Y\ 7ELL, the Marquis evidently meant just
that when he said, on the eve of his recent
trip to Paris, it was purely for business reasons.
He has returned to Hollywood and Constance
Bennett. Connie worked with Gilbert Roland
in the picture "After Tonight" in his absence.

•"THE chorus men in "I Am Suzanne!" began
by letting Lilian Harvey slip during an
adagio rehearsal. This decorated her with
ovely black and blue contusions on both legs
and hips. Then they pelted her with cotton
snow-balls. One must have been loaded be-
cause it hit home and made her nose bleed.
So they thought it was time to do something
constructive — whereupon each contributed
fifty cents and bought her a load of roses.

T\ TALKING over to the Paramount com-
v missary past "dressing-room row," one
encounters a heavy, sweet exotic fragrance.
On investigation, it proves to be the tuberoses
in Marlene Dietrich's dressing room — hun-
dreds of 'em. The favorite Dietrich flower.

Art Director Hans Dreier shows Charlotte Henry and Director Norman
McLeod the Duchess' house, designed for "Alice in Wonderland." Charlotte
won't have trouble getting in that doorway after she nibbles the mushroom

f~',RETA GARBO undertook a man-size job
^-^by breaking in a pair of riding boots she
wears in "Queen Christina."

TDAINTING her own house, with
the assistance of her butler, Lupe
Velez said:

"Aw; we just put on the first coat,
then let the decorators make it look
like art."

(CHARLES FARRELL was mentioned to
^^*play opposite Janet Gaynor in "Carolina."
Robert Young has been assigned for the role.
Henry Garat, whom Janet wanted and got for
"Adorable," is making a picture for Fox in
Paris with Lili Damita.

JIMMY DURANTE has patented his name.
'If anyone wants to name a candy bar after
him Jimmy wants a cut. Jimmy didn't think
it necessary to patent his schnozzle.

A T last Charlie Chaplin, Hollywood's last
remaining sphinx, has spoken. The oc-
casion was a national broadcast. Charlie was

plainly fussed at first and muffed a few words.
But he finally hit his stride to prove it is not
the lack of a recording voice that has made
him stick to pantomime.

Will this first sweet taste of audibility result
in a Chaplin talkie?

AX7ALLACE FORD offers what he

says is a new simile : "As out of

luck as a moth in a nudist colony."

JOHNNY WEISSMULLER has just set some
sort of a record. Working on the "Tarzan"
set 'til midnight Saturday, Johnny made a
flying leap to join his party in a waiting car
and drove the hundred miles to Palm Springs,
there to disport himself with his Lupe in the
pool — until it was time for him to play three
hours of baseball.

Following this came an afternoon in the
desert on horseback, dinner, a Palm Springs
evening and, at three in the morning, a start
back to Culver City and the mines.

Monday morning, promptly at eight, they
tell us, Johnny was aboard an elephant, all
made up to beguile his jungle love.

•""THE attitude of Margaret Sullavan, Uni-
x versal's new found star, toward Hollywood
and pictures is becoming classic, although some
believe just a little overdone.

In reply to a telegram asking if she cared to
put her card in local trade papers with the
premiere of "Only Yesterday," came La
Sullavan's answer, that she had "just seen the
picture, and her next advertisement would be
an obituary."

This, when everyone was agreed that "Only
Yesterday" was an excellent picture, and her
own work outstanding.

"VDU are going to see a new name in "Trigger,"
a fine character actress, whose name on
the cast will read "Nan Sunderland." Her
other name is Mrs. Walter Huston. She will
play a mountaineer mother in this new Kath-
arine Hepburn picture.

r^HICO MARX, they say, called up
^the Hollywood's Women's Ex-
change and inquired what they had
to offer for a slightly faded blonde
with a small appetite.

TT sounds like a motion picture comedy gag
but those who were there say it actually
happened at Buster Keaton's second wedding
to Mae Scrivens Hawley. The first, you recall,
was at Enscnada, Mexico, last January. The

Wide World

Remember Baby Peggy — one of
the popular child stars of silent
movies? Fifteen now, she uses
her last name, Montgomery.
Peggy's in "Eight Girls in a Boat"

second followed when Natalie's California
divorce became final.

Buster and Mae wanted to make certain
everything was okay.

Filling out the necessary blanks on the
application for a license, the clerk asked Buster
his occupation.

"Well, some people will argue about it,"
replied Buster, "but I'm a motion picture
actor."

The clerk turned inquiringly toward Mr?.
Hawley.

"Nurse," she said.

The clerk took it big.

"Did you say nerts?" he exclaimed.

/"* AMERAS prefer blondes, accord-
ing to Bette Davis' mother — and
as mother was a photographer, Bette
took mother's advice and went
blonde.

/-"•LARENCE BROWN'S secretary. Marion
^^Spies, was escorting a visiting group round
the M-G-M lot.

"Hey, Charlie," called Miss Spies kiddingly
to an assistant director. "Can't we go visiting
on the Garbo set?"

Charlie's face took on an expression of acute
distress, and he appeared momentarily tongue-
tied.

For there, in a big old limousine, stand-

When Jack Woody, Jr. came to the studio to see his mother, Helen Twelve-
trees, he wanted to show everybody on the set that he had learned to walk.
Work halted while the cast of "King for a Night" stopped to watch him

Just a couple of pals having a
quiet smoke. Monko saw Dick
Arlen with a pipe, and he insisted
on having one, too. Dick, how-
ever, didn't demand spectacles!

ing by the stage door, was Garbo herself. She
covered her face — and then slid off the seat,
right onto the floor of the car.

The party sauntered on, convinced that
Garbo did not care to be seen!

TTHE six girls picked by Busby Berkeley,
famous New York dance director, have
hung up a new Hollywood record.

Six days after arriving in Hollywood, here is
what they had accomplished:

Blanche McDonald, who had won the title of
"Miss California" in an Atlantic City beauty
ccntest, had undergone an appendicitis opera-
tion, with resulting complications.

Marie Marks, "Miss Missouri," developed
appendicitis almost immediately after her
arrival in Hollywood.

Marjorie Murphy, still another of the
"Lucky Six," had tonsillitis and was confined
to her bed.

Claire Augerot put in a couple of days work
and then joined the invalids via the influenza
route.

The remaining two kept right on working in
"Hi, Nellie."

"\X7HILE Helen Vinson was on her
way to work one morning her
car stalled at a busy street intersec-
tion.

It didn't flatly refuse to go. It
merely made futile gasps and gurgles,
occasionally lurching ahead a few
feet.

Traffic piled up behind Helen while
the signals changed from green to
red, from red to green, from green to
red, and so on.

Finally, a red-headed cop came up
along side and said in a plaintive sort
of tone:

"What's the matter, lady? Haven't
we got any colors you like?"

CTILL confined to his bed at his home near
Newhall, Bill Hart gets a terrific kick out of

knowing his fans have not forgotten him

although he has not made a picture since 1925.
Bill receives about thirty letters a day.

which is a lot more than some present day

favorites receive.

[ PLEASE TURN TO PAGE 118 ]

/.Q

Merry Ex-Wives

THE Society for the Preven-
tion of Divorce in Hollywood
was in full swing. The girls,
all famous in what are known
as pictures, or — even more lightly —
movies, were crowded about the
small 82 x 125 snowwhite living-
room of Lil Tashman. Decorated,
of course, by Willie Haines (even to
the china hop toads).

All the members were in the room,
that is, all except Bennett, the Con-
stance, who, because she was at the
moment unfriendly with Lil, refused

to enter. And so stood outside the living-room window adding
helpful suggestions to the proceedings within. And typically
enough, the people within thought it neither odd nor unusual.
Except to feel in a vague way that in some way Warner Bros.,
or even 20th Century, would pay extra for it. With the tax.

An expose of former
husbands to warn the
innocent and brighten
the happy family circle

By Sara Hamilton

ILLUSTRATED BY FRANK DOBIAS

"Now girls," Lil began, "we're
here to lay our cards on the genuine
antique Louis Quatorze table. And
talk plainly. This divorce business
has got to stop. And for more
reasons than one. Mainly, however,
because all the men have been
married and remarried until we're
right back with the same weird indi-
viduals some of us started with.
Take the case of Lita Loma. What
happened to Lita? After four de-
lightful divorces, Lita married again
only to discover two days after the
wedding, her husband was one she'd had before. She recog-
nized him by the strawberry frappe mark on his shoulder and
the way he sang 'There'll Be a Hot Time in the Old Town,
Tonight, My Baby' in his bath. The song dated him. She
recognized him immediately as a 1905 number with a new
paint job and slight carburetor adjustments. But you can't
fool Lita. And so died another beautiful love in Hollywood.

"As you know, girls, as far as I can remember, I've never been

divorced, so I'll just sit back and 1st the rest of you get to

business. It's been proposed that each one step forward,

tell as briefly as possible all the faults and drawbacks to her

past or present husband, so when it comes time to change

husbands all over again, we girls may know ahead of time all

their little eccentricities and be prepared to cope with them.

And even understand them. For instance, there

would be fewer divorces today in Hollywood if

we but knew why certain husbands insisted

upon throwing fish to Elsa Maxwell at every

party or — — "

"Who iss Elsa Maxwell?" drawled

Dietrich from her corner, tugging at

her mannish collar.

"And so girls, go to it," said Lil.

"And between speeches I'll model a

few of my newest mid-winter frocks

for your jealous disapproval."

There was a loud sniff from

Bennett's window.

"Ladies," spoke up Chatterton,

" I intend to be brief . I can and

do honestly say this about

'Rafe' Forbes. You'll find him

a delightful dinner companion. A

"Yoo hoo, Gary, wait for
us." They rushed out,
Connie Bennett leading,
with Lil Tashman, ZaSu
Pitts and Carole Lom-
bard right behind. Every
girl took up the chase

of Hollywood

marvelous conversationalist. A splendid gentleman. But he
will insist that the compelling emotion or lyricism of Brahm's
third symphony is not in every way comparable with Bee-
thoven's piano concerto in G major."

"Oh, that's awful," moaned little Mary Carlisle. "My
uncle had that once and broke out all over. Why •"

A nudge from Mrs. Fredric March silenced the wide-eyed
Mary.

" Girls," said Mrs. March, taking the floor.
"I've never lost a husband, but still I think I
ought to advise you about Freddie — "

" Go on, go on," the girls urged.

"Well, I hate to say this, but at the most
unexpected times he wants to play 'Hyde
and go Jekyll.' "

"Goody, goody," clapped little Carlisle.
"Can he play 'Heavy, heavy, what hangs

over'? You sec, someone sits

in a chair and "

They gently rolled Mary un-
der the davenport and stuffed
cushions around the
edges. Which
only con-

Mary they were
about to play
"Hyde and go
Jekvll" and she was
"it."
"Now, go on," they
said to Mrs. March.
Well, it comes on him at the
strangest times, as I said. Re
cently at a formal dinner at our
home, and right after the crepe suzettes (she
paused to let this sink in), he fell to twitching."
"To what?"
"To twitching. Instantly I knew in another

moment he'd either be a Hyde or a Jekyll "

" Or a Barrymore," flipped Bennett from her window.
Mrs. March sat down in the ermine covered chair
(also by Willie Haines) in confusion.

"Junior is okay," began Carole Lombard.
"She means Bill Powell," someone whispered.
"But the trouble with Junior is that he wants to be
P/iilo Vance when I'm worn out after a hard day's
work. He keeps insisting I'm a clue. I mean after a
strenuous day's dieting it's too trying to come home
and find Junior going under the davenport or up and
down Dick Barthelmess' back with a spy glass. Or
wanting me to be a clue and hide in the laundry bag
so he can track me down. I mean I've spent more
nights in the laundry bag [ please turn to page 104 ]

KATHARINE HEPBURN'S

" So, it became very important to her to achieve, to 'be some-
body.' And all the intense determination of this youngster
was bent toward the realization of this ambition — really, I be-
lieve, as a compensation for her plainness."

There have been many attempts to explain Hepburn's suc-
cess. Without beauty, without fame, this girl's name rang
'round the world in less than six months after she had set foot
on the sacred territory known as a motion picture lot. With her
first picture, she forced hard-boiled Hollywood and a skeptical
public to recognize her as a star.

AND now, here was a recognized psychologist saying that
her success was indirectly due to the fact that she had
been a homely child!

Mr. Fielding's theory sounded logical, and it certainly was an
interesting explanation. Neither could it be lightly dismissed,
for he is an authority on problems of human behavior, and the
author of several books, including "Love and the Sex Emotions."

"You believe then," we tracked him down, "that Hepburn,
as a child, had an inferiority complex which made her ambitious
to excel and spurred her on to success."

"Exactly," he answered.

" Well, what about all these other homely little girls who have
inferiority complexes because they don't have curls? Very few
of them turn out to be Hepburns!"

"True," the psychologist admitted. "We have to concede,
of course, that Miss Hepburn has talent. But talent very often
remains buried and undeveloped. I believe that Miss Hep-
burn's genius might have remained latent and unobserved if the
tremendous urge to achieve had not spurred her on.

" However," he continued, "if you asked me to name the most
potent factor that accounts for her spectacular success, I should
say it is her great good fortune in the matter of parents."

"You mean she inherited her ability?"

Hepburn knows no fear because the bugaboo
has never been planted in her mind. Yet her
inferiority complex worked so far toward the
"superiority" form, she was misunderstood

"F Katharine Hepburn had been pretty as a
child, I don't believe she would ever have
become famous."

The man who spoke was William J.
Fielding, eminent psychologist. His opinion
sounded wild, and it commanded attention.

"Hepburn was probably the ugly duckling
among the children in her neighborhood," Mr.
Fielding explained, "she was not a good-looking
child. Being sensitive, she was keenly aware of
this inferiority.

"She saw prettier children — because of their
physical charm — receiving the attention of
adults and the admiration of playmates.

"Like all children, she too craved the security
of being admired, of getting praise and com-
mendation. But she was intelligent enough to
know she could not compete as a 'pretty child.'

- ,,-*•--

INFERIORITY COMPLEX

This analysis of the
eccentric star's emo-
tional make-up, by an
eminent psychologist,
may surprise you

By Virginia Maxwell

"Oh no. I don't know about that,"' Mr. Fielding answered
"I am speaking of the way her parents treated her as a child.

"From what I understand of her childhood, she was treated
as a personality, an individual. What is even more important,
she was never made a victim of the 'you can't do that' bugaboo.
Her parents treated her positively instead of negatively. They
said 'yes' oftener than 'no.' They said 'do' instead of 'don't.'

" Most of us are trained, by parents, to fear things before they
happen. Well-meaning fathers and mothers build obstacles of
fear in their children's paths — and often these obstacles are in-
surmountable."

Many adults can look back on their own childhood and see
that Mr. Fielding is right. For most children, there is a con-
stant parade of "can'ts" and "don'ts," checking them, restrain,
ing them, making them uncertain and afraid.

After they are grown up, they say to themselves, "Don't do
that, you might get hurt," or "Be careful now, that isn't safe,"
or, "You can't do it, you never were good at that sort of thing! "
Echoes from childhood ! And while these can'ts and don'ts may

A diffei ,-nt Jo perhaps from the one visualized
in reading "Little Women," Hepburn gives
to this roie some of that hidden fire of
determination William J. Fielding sees in her

be imaginary — they are, none the less, very
potent obstacles to success.

It is true that Katharine Hepburn's parents
did not repress her. She was a sensitive child,
and, according to the psychologist, had an in-
feriority complex. If her parents had thwarted
her small ambitions as a child, if they had dis-
couraged her with "can'ts" and made her un-
certain by saying "don't" she might have grown
up to be quite an ordinary young lady; one who
now, in her middl:

In the hills Hep-
burn's spirit roves
free as a bird. Few
understand this
quality. They call
Katharine eccentric

twenties, might be say
ing, "Yes, I always
loved the theater. Oh
no! I never considered
going on the stage! I'm

[ PLEASE TURN TO
PAGE 100 ]

ppermanns

. ■

It is all very confusing.
Those Wuppermann boys are
always mixed up! But look
carefully and get it straight
now once and for all. From
left to right: Frank, Mrs.
Ralph, Mrs. Frank and Ralph

YOU can't disgrace the
name of Wuppermann!"
said stately Airs. Wup-
permann. Regal as Ham-
let's queen mother, she drew her-
self up to her full height and
looked sternly down upon her son.

At the moment her son was en-
gaged in trying on a blond wig for
the melodrama to be presented
that night by the Dramatic Club
of the Holy Trinity Church in
Harlem.

The boy looked at himself criti-
cally in the mirror.

"Being an actor isn't going to
disgrace a name," he answered,
carefully adjusting the wig. "Be-
sides, I'll change mv name."

"Well, Ralph, you'll still be a
Wuppermann, and I simply will
not— — "

'Excuse me, mother, I'll be
back in a second." And the boy
in the wig ran downstairs to get
the grease paint he had left on
the kitchen window sill.

Ralph had a little brother. His
name was Frankie. They looked
very much alike except that
Frankie was still somewhat round-
cheeked and cherubic looking,
and didn't try to slick his curls
down. He was the favorite bov

This is the younger Wupper-
mann— before he had thea-
trical ambitions. Even then
he resembled his brother

£2m

By Judith Stone

This is the older Wupper-
mann, when he was very
young. He had no trouble at
all winning ample attention

soprano at St. Thomas' church.
As yet Frankie had no theatrical
ambitions. He was far more
interested in chasing fire engines.
But silently and fervently he
hoped that Ralph would win the
heated arguments with hisparents.

And several years later when
Ralph tossed up his job as clerk in
a law office to take a small role
in a stock company, Frank was as
pleased as his mother was angry.

Ralph kept his promise to Mrs.
Wuppermann. He changed his
name. He called himself Ralph
Morgan.

The young actor's rise on the
New York stage was steady, and
his position of prominence in the
theater was soon established.

Frank, in the meantime, was
working for his father who was
American distributor for an im-
ported bitters. Frank's job was
monotonous and his salary was
seven dollars a week.

But when he had "time off" he
could go around to the Lambs
Club and other famous haunts,
where he was introduced, grandly,
as "Ralph Morgan's brother."

Finally, the routine at Mr.
Wuppermann's place of business
became too deadly for Frank.
He ran away. He went to Las
Vegas, New Mexico, to punch
cows. But before he learned to
throw a lasso, he was roped into
a poker game — and cleaned out.

[ PLEASE TURX TO PAGE 105 ]

' ' ^^O W you know her and now you don ' t ! "
-^^ Just to prove that the woman star of
20th Century's new film, "Moulin Rouge,"
really is Connie Bennett, the lower picture
shows how she appears in part of the story.
The larger one shows her highly effective
"dual role" disguise as a brunette French
actress, used at several points in the action

Select Your Pictures and You Won't

DESIGN FOR LIVING Paramount

THREE artistic souls in Paris, with somewhat "uncon-
ventional," shall we say, views of morals, and a triangle
that reverses the usual order! That is, it's the girl, Miriam
Hopkins, who just can't keep playwright Fredric March and
artist Gary Cooper sorted out as lovers! The result promises
to be highly sophisticated, and it is.

Starting from the first "gentlemen's agreement" — that
they'll just be friends all around — it goes through break-
down after breakdown of this arrangement, with plenty of
excitement, excellent acting and sparkle, all the way. Finally
in despair Miriam seeks an answer by marrying Edward
Everett Horton. But in the fadeout — well, see it!

It's a daring theme, but artistically and sparklingly han-
dled throughout, in Ernst Lubitsch's best style.

HAVANA WIDOWS— First National

MANY attempts have been made to wring fun from
Havana high-jinks on the part of playboy (and play-
girl) Americans, but this one really rings the bell.

Ex-burlesque chorines Joan Blondell and Glenda Farrell
decide to take a short road to fun and wealth by trying their
wiles on supposedly rich playboy Guy Kibbee, while under
the influence of the Havana spirit. They get away to a good
start, with Frank McHugh and Allen Jenkins, both in top
form, figuring largely. But then how things go wrong — as
wrong as they could in a Cuban election!

The final twist adds a grand laugh, and proves that the
tale was concocted by people who know their comedy.

For an evening of real fun that will banish troubles, you
can't go wrong on this.

The

Shad

A Review of the Neiv Pictures

LITTLE WOMEN~RKO-Radio

IF this is not the finest picture in years, it is certainly
among the sweetest, most lovable, and most exquisitely
done. The Louisa M. Alcott classic story has actually been
improved by its superbly beautiful screen translation, be-
cause the rich character and depth possessed by the story
have been freed from the somewhat saccharine sentimen-
tality which overlaid them in the book.

Certainly "Little Women" represents sheer genius in its
human, intelligent direction by George Cukor, and in its
artistic capture of the spirit of its period, the 1860's and
1870's. It is a picture of triumphs — for Katharine Hepburn,
who as Jo rises to a greatness scarcely rivaled by any other
actress in Hollywood; for Frances Dee, Joan Bennett and
Jean Parker, who give splendid performances as Jo's sisters;
for Paul Lukas, Spring Byington, Douglass Montgomery,
Edna May Oliver, Henry Stephenson — for every member of
its perfectly selected cast. The story could not have been
lived out in real life more realistically than we see it por-
trayed on the screen.

The story forces repeated tears, then deftly brushes each
away with a smile, as a family of girls finds life drawing
them relentlessly from the girlhood they loved. Whatever
your taste in pictures, you will feel its charm, you will sense
the joys and sorrows of the family as keenly as they, because
this picture is a genuine masterpiece of portraying and
kindling emotion.

Have to Complain About the Bad Ones

The Best Pictures of the Month

LITTLE WOMEN THE PRIZEFIGHTER AND THE LADY

DESIGN FOR LIVING HAVANA WIDOWS

ONLY YESTERDAY THE HOUSE ON 56TH STREET

DUCK SOUP THE MAD GAME

The Best Performances of the Month

Katharine Hepburn in "Little Women'*

Paul Lukas in "Little Women"

Max Baer in "The Prizefighter and the Lady"

Otto Kruger in "The Prizefighter and the Lady"

Gary Cooper in "Design for Living"

Fredric March in "Design for Living"

Margaret Sullavan in "Only Yesterday"

Kay Francis in "The House on 56th Street"

Dorothea Wieck in "Cradle Song"

Chester Morris in "King for a Night"

Richard Aden in "Hell and High Water"

Casts of all photoplays reviewed will be found on page 116

THE PRIZEFIGHTER AND THE LADY—M-G-M

MAX BAER wins! Not only did he make the best prize-
fight picture ever shown, but he serves unmistakable
notice on Hollywood that he's challenging every "male
menace" known to screendom for the championship with the
ladies!

He isn't on the screen ten minutes before you hear the
whispered comparisons running through the house. He
backs this up with as smooth an acting job as though he'd
been in Hollywood for years. And after his rousing fight
with Camera (in person) there isn't a male sneer anywhere.

The oft-told story shows him starting as a barroom
bouncer, being recognized and built up by down-and-out
"Professor" Walter Huston, former trainer of champions,
until he cuts out Myrna Loy from gangster Otto Kruger and
challenges Camera for the world championship. But success
and the ladies turn his head, and he breaks with Myrna and
Walter before the big fight. And how that fight wows the
men folks!

With Jack Dempsey (also in person) refereeing, Max and
Primo sock each other through the ropes, down for the count
of nine, and all the rest — and it's real socking, too. Of
course, they took care to bring the story out right, but you'd
never guess it just by watching.

Finally, the story has real punch, and everyone in it, in-
cluding Yince Barnett, turns in a gem of acting. So it's an
entertainment knockout for everybody.

ONLY YESTERDAY— Universal

A REAL star blazes forth in the cinema heavens this
time, and no mistake! After seeing this simple, but in-
tensely moving play, you'll always have a place on your
movie-going program whenever Margaret Sullavan is billed!

It's the simple story of how Margaret loves John Boles,
not wisely, but too well — with the consequences to be ex-
pected when he goes to war without knowing what has
happened. She won't tell — not even years later when their
love is rekindled, in spite of his marriage — until she is
dying. Then a letter reveals it, in time to give him new in-
centive for living after the stock market crash.

That's the story, but the exquisite work turned in by
Margaret Sullavan, the superb feeling of John Stahl's direc-
tion, give it utter, compelling charm.

■A-

THE HOUSE ON 56TH STREET— Warners

AN epic quality and Kay Francis' superb performance
of a rich role, lift this tale — based on the famous old
Floradora Sextette — into poignant, compelling drama.

It's a case of chorus girl Kay being too fascinating for her
own happiness. After turning down admirer John Halliday,
she marries Gene Raymond, only to have Halliday kill him-
self in her house. Result — twenty years in prison for Kay,
while hubby Gene is killed in the World War.

Life means little to Kay after she gets out, except for her
daughter, delightfully played by Margaret Lindsay. So it
seems easy to drift into association with gambler Ricardo
Cortez — until the daughter becomes involved, and Kay must
face another and final tragedy. It's grandly done by all, and
Kay is superb throughout.

The National Guide to Motion Pictures

(RET. U S. PAT. OFF.)

DUCK SOUP
— Paramount

THE MAD
GAME— Fox

AGAIN the Four Marx Brothers crash through with a pack-
age of hilarious nonsense that is rib-tickling fun for all who
don't care whether their fun has reason to it. They're all
mixed up this time in a revolution and other troubles in mythical
Fredonia — and what a land it must be, judging from what
happens! But the action is fast, the dialogue is faster, and the
Marxes fastest of all. It's a riot!

" CET a crook to catch a crook" — so they release beer baron
WSpencer Tracy from prison to catch his former lieutenant,
J. Carroll Naish, who's gone in for kidnapping. Spencer's glad
to do it, after what J. Carrol did to him, and he gets his man.
Claire Trevor supplies the love interest exceedingly well, and
it is a powerful if somber treatment of the theme. Not for
children.

CRADLE
SONG—
Paramount

FEMALE—
First National

AS in "Maedchen in Uniform," beautiful, sensitive Doro-
thea Wieck infuses ethereal charm throughout this, her
first American picture. In it she's a nun who pours out all her
wealth of mother love upon a foundling left at the convent. Sir
Guy Standing, Evelyn Venable, and Louise Dresser add finely
played roles. Some may not care for the unexciting theme, but
if you appreciate charm in acting, here it is.

BRIGHT chatter and amusing situations prove that a big
business girl is just female after all. Ruth Chatterton is head
of a large motor company and the boys around the office are
mere game for her until she meets young inventor George Brent.
He convinces her he is different and even makes her like him as
boss. An excellent Chatterton portrayal; watch for Ferdinand
Gottschalk as Pettigrew.

KING FOR
A NIGHT—
Universal

HOOPLA-
Fox

CHESTER MORRIS as Kid Gloves, minister's son, turns
prize-fighter. You become more and more fond of this
likable, cocky youngster as the film unreels. Helen Twelve-
trees, Kid's sister, considers him above all else, and he re-
ciprocates her affection. This picture should make a big hit
with fight fans. Chester and Grant Mitchell turn in grand
performances.

CLARA BOW should be a natural for the writhing and
wriggling carnival dancer in the favorite stage play, "The
Barker," but it doesn't pan out that way. She vamps Richard
Cromwell, son of barker Preston Foster, per agreement with
Minna Gombell, discarded sweetie of Preston, and there's con-
siderable yardage of Clara that her followers might enjoy
looking at it. But as a tale it won't thrill.

Saves Yo ur Picture Time and Money

SON OF A
SAILOR—
First National

TAKE A

CHANCE—

Paramount

AS a swaggering sailor with an expansive imagination and a
glib tongue, Joe E. Brown covers a lot of ground in his
rollicking way, sampling everything from a gold braid dinner to
Thelma Todd as a brunette siren — including a "pick up" by the
admiral's granddaughter, a ride in a pilot-less plane and an
exclusive borne party. Lots of clean fun and okay for Brown
admirers.

JAMES DUNN steps out of romance and shows a real talent
for comedy in this musical. He and Cliff Edwards are tent-
show crooks, who want June Knight built up on Broadway,
through Lilian Bond's influence with producer Buddy Rogers.
Excellent musical numbers, constant mix-ups thanks to the
boys' crooked instincts, and good acting, make this a pleasing
variation on the usual "back stage" tale.

COLLEGE
COACH—
Warners

CHRIS-
TOPHER
BEAN—
M-G-M

FOOTBALL is portrayed as unscrupulous, hard-headed busi-
ness. Coach Pat O'Brien buys up his talent and bribes pass-
ing grades for his team, to the disgust of student Dick Powell.
Pat's neglected wife (Ann Dvorak) takes on football hero Lyle
Talbot, who does a grand job of being a smarty. Coach and
huskies stop at nothing to win the game, but you'll like O'Brien
anyway. Fast.

AS Abby, lifelong maid in the family, Marie Dressier bosses
Doctor Lionel Barrymore, helps his daughter (Helen
Mack) elope with Russell Hardie, and quarrels with the doctor's
wife (Beulah Bondi) and spoiled daughter (Helen Shipman).
Abby alone realizes the genius of the late Christopher Bean,
whose paintings, unappreciated and long in the doctor's posses-
sion, soar in price. Good entertainment.

WHITE

WOMAN—

Paramount

MY WOMAN
— Columbia

HERE'S strong enough horror for anyone! Charles Laugh-
ton as a sort of jungle Nero, rules an African kingdom,
where he shelters cast-off Carole Lombard. But when she falls
in love with Kent Taylor, Charles' evil genius flares forth, and
ugh! What blood-curdling events do follow! A revolt of the
jungle tribes ends it; and you'll have seen a masterpiece of
thrills and chills. Not for children.

NEVER raise your husband to be a radio star, preaches this
picture in which Helen Twelvetrees loyally uses the attrac-
tion she has for radio big-shot Victor Jory, to get her hubby,
Wally Ford, an ether break. He's a riot, but can't stand suc-
cess. Drink, a society siren, and the swelled head get him the
sack and give Victor the victory.

[ ADDITIONAL REVIEWS ON PAGE 109 ]

With all the odds against him, W. C. Fields clowned
himself to success. For he knew that to be a great
comedian, a man must first learn to laugh at himself

HIS friend, Henry Clive, the artist, has autographed a
painting to him "of infinite variety." The life of
W. C. Fields has been just that.

His earliest recollection was of thunder and light-
ning. He was looking out of the window and across the street —
there were horses in a field running around frightened. He was
frightened also. This was in a village called Rising Sun, a
suburb of Philadelphia.

His father was a commission merchant and had a place near
the wharf. He seldom made any money, but managed to keep
busy riding around in his wagon. Every Friday the hay wagons
came loaded to the market. Bill followed the wagons and col-
lected stray bits of hay for his father's horse. "Of course, you
must not steal it," said the father, "but if you can grab a few
hands full from the wagons it will be all right."

Bill had the misfortune of being the eldest child in a poverty-
stricken family. He attended school about four years.

He worked in a cigar store at nine years of age. His salary
was one dollar a week. The store carried one brand of cigar,
which sold for three cents. If a customer asked for a ten or
twenty cent cigar, he was given the three cent brand, and
charged the higher price.

The

Clown Who

Juggled

Apples

His audiences did
not know whether
to laugh or to cry

By Jim Tully

Thus, early the future great pantomimist learned
the sad trickeries of necessity.

The hours of work were very long for so small a
boy. Now, in affluent and famous manhood, he re-
members with bitterness the agony he endured while
trying to remain awake. One night, in closing the
shop, he was so sleepy that he took hold of the large
hot chimney of the kerosene lamp. He carries the
scar of the burn today.

As a consequence of what the shopkeeper con-
sidered carelessness, the boy was discharged.

THE Fields family moved a great deal during the
comedian's boyhood. They partook of the religion
most prevalent in the neighborhood. As there were
more Quaker churches than those of other denomina-
tions, Bill said, "We were Quakers more than any-
thing else."

Bill's next job was that of cash boy in a large

clothing store. About ten at the time, there came

over him, as so often happens to high spirited boys, a

revulsion to the early treadmill of labor. His mother

awakened him on the morning of a heavy snow and

blizzard in December. He must be at work from a

suburb by eight o'clock. The cars could be made to run with

difficulty. The snow was above his knees. Insufficiently

clothed, with five cents carefare from his mother, he walked a

mile in the heavy snow, and finally caught a car that took him

to the city.

Once at work, he proceeded to do even-thing that would get
him discharged. All was ov^iooked on the blizzardly morning
until at last, in desperation, h alked through a skylight inside
the building. Even then th >roprietor did not wish to dis-
charge him. Would the boy say he was sorry? He would not.
And thus the store parted with the services of its most gifted
and irascible cash boy.

When spring came to Philadelphia, Bill sodded the yard for
his father. Boylike, he left a rake near the gate, its teeth
pointing heavenward. The father walked home, stepped
blithely on the rake. The long hickory handle sprang upward
even more blithely, and cracked the father of the future Zieg-
feld sensation squarely on his troubled forehead.

Few men have poise when cracked in the forehead with a
rake, especially if a son and heir happens to be laughing nearby.
The irate father chased his son away.
"When I returned after many [ please turn to page 108 ]

mkh

///^

SSSfSS"»v»vMK

70?

<ywb —

w»

«\

£,

\Mtoufthxw

cmJbol. <D°Sc
s\lielumA ovi&

"ceMauZ pW" §rfwi a, lor

\ 1 1

/ v\»»" *

ovlIm. afcwL —

\tZaXJ\JL/\xa* 5

EVENING

Otto Dyar

yOU must have a duplicate of this charming lame gown
which Rita Kaufman has designed for Helen Vinson to
wear in "As Husbands Go." It is one of those ideal
holiday party dresses — formal yet not so much so that you
couldn't wear it to dinner and theater. The ruffled collar
is of the gold lame lined with blue taffeta. Fullness at hem

ANOTHER perfect holiday frock is this one, at right,
worn by Fay Wray in "Master of Men." The satin
bodice is cut low in front but Kalloch has discreetly covered
the shoulders with a collar-like effect. The twisted halter
about the neck is an amusing idea and can be removed if
you prefer. Two clips and a wide bracelet are accents

Irving Lippman

FASHIONS

AND ostrich again. The lovely gown, above, of pale
green chiffon is lavishly trimmed with uncurled ostrich
feathers of the same shade. Travis Banton designed it for
Marguerite Churchill to wear in "Girl Without a Room."
The ostrich is massed below the shoulders on the gown, the
chiffon cape is trimmed with it, too. A romantic dress

THE tunic for evening! Here it is at its best as worn by
Fay Wray in "Master of Men." Fay has included this in
her personal wardrobe and recently wore it to a premiere
in Hollywood. The tunic is entirefy beaded with a high
neckline which is slit to the waist in back. The skirt be-
neath is of matching satin, rather full with a long train

Irving Lippman

Hollywood Puts Brighter Frocks

J. Van Trees, Sr.

LEST you think that the fox cape is part of Sally
Blane's costume above, I must tell you that it is her
own, worn for the occasion in her new picture "Advice
to the Lovelorn."' Bright contrasting vestee and sash
give vivid accent to the dark silk. Amusing tubular
buttons, don't you think? An unusual skirt detail

T is Kalloch's waggish idea to put cuffs above the
elbows on this costume which June Collyer wears in
"Before Midnight." They look like calla lily petals
and are lined with the same gold silk that makes the
collar and bow on the brown tunic. Don't fear that
the cuffs won't tuck in coat sleeves — they will!

Shafer

Under Winter Coats says ^s^r

Kenneth Alexander

ABOVE, Loretta Young wears a formal afternoon
dress in "Born to Be Bad.'" Gwen Wakeling,
who designed it, must have known how grand it
would be for you because she has made it in burgundy
colored dull velvet with naive collar of gold kid.
The long peplum flares above the ankle length skirt

HEATHER ANGEL is fast gaining a big fashion fol-
lowing with the younger set — she knows so well
how to pick youthful clothes. At right, she wears
a Royer design from film "7 Lives Were Changed."
Bright dark blue and red contrast here. The top gives
a jacket effect though actually it is in one with the skirt

Otto Dvar

Hurrell

IT'S grand to welcome
charming Lila Lee back
to the screen again. She
poses here in a black
dinner gown from her
personal wardrobe. It's
the picture of simplicity
with an interesting sailor-
like collar and a big bow
to save it from too great
a severity. The favorite
sheath-like silhouette
again — very flattering to
Lila. In silk bengaline

here sponsored by PHOTOPLAY
Magazine and worn by famous
stars in latest motion pictures,
now may be secured for your
own wardrobe from leading de-
partment and ready-to-wear
stores in many localities. . . .
Faithful copies of these smartly
styled and moderately-priced
garments, of which those shown
in this issue of PHOTOPLAY
are typical, are on display this
month in the stores of those
representative merchants whose
firm names are conveniently listed
for you on Page 115

Otto Dyar

THIS hostess gown
which Helen Vinson
wears in "As Husbands
Go," is so good looking
that it has been copied
for you as a negligee in
velvet. What a perfect
Christmas gift! Rhine-
stone buttons offset a
double breasted bodice
effect and rhinestone
clips trim the belt. Note
the high collar closing.
Rita Kaufman designed it

ANY way you look
at it, this is a grand
picture of the hand-
some Novarro. But
Hollywood can't hold
Ramon since he got a
taste of the concert
stage. While singing
in Europe Ramon met
Jeanette MacDonald
and, together with
Irving Thalberg, they
planned to make "The
Cat and the Fiddle"
upon their return to
the States. Now that
the movie is finished,
Ramon isturningagainto
flesh-and-blood audi-
ences. He will open
his second concert tour
in his home town
— Durango, Mexico

Hurrell

T^RANCIS LEDERER, young Czecho-Slovakian actor, was a star in
the theaters of Europe and the matinee idol of Broadway before he
came to Hollywood. His first American movie will be "Man of Two
Worlds" — story of an Eskimo who leaves Land of the Midnight Sun
to invade civilization. Here he is with Sarah Padden in scene from film

Pinch Hitters

That Came
Through

By Ruth Rankin

BECAUSE a jack-rabbit jumped in Raoul Walsh's
eye, Warner Baxter got a real break in the movies.
It was when Walsh was directing and playing the
lead in " In Old Arizona." The ghastly accident cost
Raoul the sight of his eye, and threw the Fox studio into
a panic. They had to get someone to replace Walsh —
and get him pronto!

The next day a young actor was on his way out of his
humble little house, going to sell automobiles. Holly-
wood wasn't strong for him. He had stuck it out as long as
he could. Now he had been offered a steady job, and he
was starting out on his first day's work as a salesman.

The telephone rang, just as he closed the front door.

"Let it ring," said Warner. But he paused. The phone
rang insistently. "Maybe it might be something," the
thought flashed, "something about pictures."

So Warner went back and answered the telephone. In
two minutes he had completely erased from his mind the
idea of selling cars. Not only did Baxter pinch-hit for
Walsh in the lead, but he gave
an interpretation that won him
the Academy Award for the
best performance of the year!

" In Old Arizona" was one of
the very best of the first talkies,
and Baxter's resonant voice,
which had won him success on
the stage, made him an impor-
tant contender for success in
the new medium. Fox wasted
no time signing him to a long-
term contract — and Warner
has been there ever since.

HOLLYWOOD is a land of
miracles as well as heart-
break. And while thousands
wait, hoping against hope for a
break in pictures, once in a
blue moon an actor or actress
drops out of a part, another
is hurriedly drafted into serv-
ice— and a star is made.

Sometimes it's an unfortu-
nate accident or illness that
gives the pinch hitter his
break. And several times the
miracle has come about when a
star staged a walk-out.

Take Jimmy Cagney's walk-
out for example. This sassy,
young Irishman smashed his
way out of small bits at the
Warners Studio, and sky-rock-
eted overnight into a line-up at
the box-office. But, outside of
a small boost, his salary remained at the same modest sum.

So Mrs. Cagney's red-headed Jimmy took a walk-out. He
landed in New York — and he stayed there. He knew very well

Ivan Lebedeff's name might have remained
obscure if he hadn't been asked to pinch hit
for Asther in "The Blonde Bombshell"

that his studio had bought the big
stage hit, " Blessed Event," for him
— and the part of the fast-speaking
columnist was a Cagney natural.
They had to come to terms.

There followed a long-distance
controversy that burned up the
wires. Warners threatened suit —
and Jimmy threatened to become a
doctor. Then suddenly, there was
silence.

Warners had found another
"boy." His name was Lee Tracy.
He could talk sixteen to the dozen,
he could act — and how. Warners
had a great bang-up success in
"Blessed Event." They had cre-
ated a new star.

Incidentally, they got the old one
back as good as new — and the med-
ical profession lost a doctor with a
phenomenal bedside manner! Was
everybody happy? Okay, America!

Which brings us, with a bound,
to a lad named Winchell — Walter, to start with. Universal had
a swell story all polished up, waiting for him. They called it,
appropriately, "Okay, America!"

Actors Who Made "Breaks" Good

Carole Lombard was
teamed with Clark Gable
and scored a success in
"No Man of Her Own,"
because another big star
had gone temperamental

Winchell arrived in the midst
of ninety per cent of his sub-
ject matter — or Hollywood —
and immediately developed
tax-trouble.

He was making $2,000 a
week in salary and commis-
sions on his column. For
$6,500 every week he did three
broadcasts. In addition, vari-
ous and sundry hundreds a
week were paid him for per-
sonal appearances. Before
vaudeville collapsed, he had
rated $7,500 at the Palace. He
was going to get $75,000 for
playing himself in ''Okay
America!"

When the frenzied finance
was straightened out, taxes,
etc., paid, Walter figured he
would have just $30,000 left
out of the seventy-five. So he
called it quits, and decided to
be in California for his health
only. He had arrived originally
to recuperate from a break-
down, and the picture was
going to be a part of the "rest."

Over at Universal was Lew Ayres, who hit the top in "All
Quiet on the Western Front" — and Lew had been hitting the
ceiling for another good part, ever since that memorable per-
formance.

So Lew, as unlike W.W. as herring and whipped cream,

stepped in and played the part. And gave
it a whale of a performance, which pro-
pelled him right back up in the starry con-
stellation.

Still under the Winchell influence, we
proceed to "Broadway Thru A Keyhole,"
Winchell's story for the new 20th Century
Company, over which the Jolson one-sock
battle took place.

Peggy Hopkins Joyce was signed to play
an important part — and walked out in a
huff after discovering a striking similarity
between Peggy Hopkins Joyce and the
character she was supposed to play. Lilvan
Tashman took up the torch — and went to
the hospital a few days later with an acute
appendix. This left the situation in a very
dismal dither indeed.

With a burst of inspiration, casting di-
rector Rufus LeMaire recalled an old test
he made sometime before of an actress
named Blossom Seeley, one of the pioneer
coon-shouters, an immensely popular
Broadway entertainer. Zanuck looked at
the test, and the trick was turned. All
Blossom had to do was make the touch-
down in the last two minutes of play — and
Blossom scored. It was her one big chance,
she realized it, played it to the hilt, and
now she's right in line for
a Mae West bombshell-
success.

Reluctantly they cast Lee Tracy in "Blessed Event"
when Jimmy Cagney walked out. And Tracy, the
substitute, crashed through to stardom with a smash

walk-outs is that of Nils Asther
Bombshell." Nils was to do the
Harlow picture.

Then suddenly Nils decided
wouldn't play the part.

UT here's a double-
barreled example of
pinch-hitting, in which
everybody comes out
practically even.

Jack LaRue, then un-
known to pictures, was
slated to play an impor-
tant part in "Scarface."
He was found to be too
tall for Paul Muni. So
another lad, with a face
also new to pictures,
played the part. His
name was George Raft.

Two years later George
Raft, now in the spot of
the privileged to say
"yes" or "no," said "no"
to the part of Trigger in
"The Story of Temple
Drake." It was a good
fight while it lasted, and
Jack LaRue, hitherto
just a "rod-man" in
small parts, played the
role of Trigger. It would
take some thinking to
think up a nastier guy
than Trigger. ButLaRue
imbued him with a
murky, sinister unholi-
ness that you couldn't
shove out of mind in a
hurry. It was his Big
Moment — and he took it
big. So did the audience.

Famous among recent

I-don't -like -t he-part

s departure from "The Blonde

role of the Marquis in the Jean

the role was inadequate. He

[ PLEASE TURN TO PAGE 103 ]

70 2

LILIAN HARVEY and Gene Raymond get charm-
ingly confidential. And the puppets in the back-
ground won't interfere — not unless somebody pulls a
lot of wires! Lilian and Gene are making "I Am
Suzanne!" in which the puppets are important, too

Winners of $1,500

Correct Solutions

July

Helen Twelvetrees

Sylvia Sidney

Gary Cooper

Leslie Howard

August
Joan Bennett
Heather Angel

Cary Grant
Richard Arlen

September

Ruby Keeler

Mary Carlisle

Dorothy Jordan

Marion Davies

THE Movie Muddles have been un-
scrambled! The judges, after an
exceptionally difficult task, have
selected the eighty-four cash prize
winners in Photoplay's annual mid-sum-
mer contest, which was the first Movie
Muddles contest ever conducted by any
publication.

And as you read this, letter carriers in
various parts of the United States, Canada
and Mexico will be delivering checks rang-
ing from $500 to $5 to the fortunate par-
ticipants in one of the most novel and
interesting contests ever presented to fol-
lowers of the screen stars.

In three issues of Photoplay Magazine,
the July, August and September numbers,
appeared the Muddles. The parts of
these were so arranged by the contestants
that eight strips, when properly selected
and properly interwoven, presented the
picture of one actor or actress, while the
remaining eight presented the picture of
another actor or actress.

It was also possible, by a different in-
terweaving, to obtain the pictures of two
other actors, actresses, or of an actor and
actress, with the sixteen strips.

Despite this seeming muddle, contest-
ants wove the strips together presenting
the correct pictures with such remarkable
skill and neatness, as well as accuracy,

that the judges had a muddle of their own in selecting the prize
winners from the thousands of solutions entered in the contest —
solutions that poured in from every State in the Union, from
Canada, Mexico, and even farther away. A glance at the list
of prize winners will show how widespread the interest was in
this unusual and fascinating contest.

A staff experienced in work of this kind made a preliminary
examination of every solution submitted, preparatory to ar-
ranging and classifying entries for the later inspection and
decision of the judges.

This staff was on the lookout for errors. Any entry that was

Just a very small number of the entries in Photoplay's Movie Muddle Contest

incorrectly assembled or had any error in naming either a star
or a picture in which the star appeared was removed from con-
sideration.

Those which passed this preliminary test were then grouped
for further examination, and it was noticeable that a high
degree of skill and taste was evident in the way these entries
met the requirement that each picture be accompanied, not
only by the name of the star, but by the name of a picture in
which the star appeared. Some presented the names only of
the plays; but many used the review of the picture printed in
Photoplay, and some even added the cast.

for Movie Muddles

The Prize Winners

First Prize, $500.00

Mil died Butler

1611 Slattery Bldg.

Shreveport, La.

Second Prize, $250.00

Howard Radatz

1815 48th Street

Kenosha, Wis.

Third Prize, $100.00

Peggy Castle

General Delivery

Tampa, Florida

Fourth Prize, $50.00

Myrtle Lubold

24 W. 69th St.. Apt. 7-B

New York, N. Y.

(Additional prize winners on page 96 i

You can well appreciate the Judges' task in selecting the eighty-four prize winners

Because one of the rules of the contest specified that, aside
from accuracy in solving the Muddles and giving the required
names, neatness and simplicity in the contestants' methods of
submitting the solutions would count, hours of debate were
required before the judges could make the final selection of
prize winners.

Elaborate presentations, such as were presented in previous
contests, were conspicuous by their absence.

The offering of Mildred Butler, of Shreveport, La., showing
exceptional neatness in the assembling of the muddled pictures,
was finally selected for the first prize of $500.

Second prize, of $250, was carried off
by Howard Radatz, of Kenosha, Wis.

Peggy Castle, of Tampa, Fla., was
awarded the third prize of $100.

Myrtle Lubold, New York City, cap-
tured the fourth prize of $50.

Mildred Butler, winner of the first
prize, in a letter to the contest judges
after she was advised her solution was
being considered as one of the prize
winners, said:

"I'm so excited over the possibility of
winning even a small prize in a contest
that I'm not able to think very well.
The first thing I would do would be to
pay some bills. My father has been out
of work for two years and my mother
has had a very serious operation that
resulted in a doctor, nurse and sanitarium
bill that simply ran out of all pro-
portions. My salary as a stenographer
just wouldn't make ends meet on all the
expenses connected with maintaining a
home. Well, if I got a prize I'd pay all
those bills, and breathe freely once more.
If there was enough left, my mother
could take a short trip. Then with the
$5.00 left over, I'd go out and buy a hat
I saw in the window. I forgot to say, of
course, I'd give ten per cent of it to
charity."

"It is indeed gratifying to me that my
efforts in this contest have been appreciated to such an extent
that I can share in the prize money," wrote Howard Radatz,
winner of the second prize. "It surprised and thrilled me
beyond description to hear such welcome news. Being a factory
worker at present unemployed, it can readily be seen how
advantageous a money prize will be after the struggles of the
last three years. It is, indeed, a godsend, for which I am
grateful to Photoplay. There are bills to pay, clothes to buy
and the satisfaction and joy of having money that I may do
my part in the 'Buy Now' campaign going on all over the
country. In closing, I might add [ please turn to page 96 ]

EVEN Hollywood, blase town that it is,
gasped at the outpouring of screen dig-
nitaries that turned up for the opening
of "The Bowery," the first picture to be re-
leased by the new 20th Century Pictures com-
pany, fathered by Joseph M. Schenck and

Darryl Zanuck. This exclusive photograph
shows a part of the illustrious crowd that
filed into the United Artists Theater in Los
Angeles for the occasion. Appropriately
enough (counting from the policeman at the
left), the parade is headed by Mrs. Zanuck

(Virginia Fox) and Mr. Zanuck. Then comes
Joseph M. Schenck, and to his left, Marjorie
King, escorted by one of the stars in the
picture, George Raft, who plays Steve Brodie.
Last on the left-hand page is Fay Wray, also
in the film, and on the edge of the right-hand

Photo by Charles Rhodes

picture is her husband, John Monk Saunders.
Over his shoulder you see Jeanette Mac-
Donald, then Mary Pickford and the picture's
soubrette, Pert Kelton (Pert has her hand up-
raised). Right behind Pert we see Mrs.
Charles Bigelow, mother of Jackie Cooper,

who comes next, with Louis B. Mayer. Jackie
is an important player in the film. Over Mr.
Mayer's shoulder, we see the famed writer,
Rupert Hughes; and next to him is Paulette
Goddard, escorted by Charles Chaplin. The
next in line is Eddie Cantor, squiring an old

Broadway friend, Blossom Seeley; and behind
Blossom, we see Sally O'Xeil, back in Holly-
wood after a considerable absence from pic-
tures. The last two in this parade of film
notables are Russ Columbo and Sally Blane.
And what a crowd in front!

News

rom

London

By Kathlyn Hay den

Photoplay's London Correspondent

[AN you believe
it! The English
ipremiereof "The
Private Life of
Henry VIII" — and the
picture was made in
England — was weeks
later than the first public
showing in the United
States. But maybe it
took us English that long
to gather the assemblage
of notable first nighters
that were present.

The list of names of
stately duchesses, beau-
tiful actresses, states-
men, playwrights and
other celebrities who
rubbed shoulders in the
foyer would fill a whole
page in Photoplay.

And, miracle of mir-
acles, there were actually
searchlights in Leicester
Square — an unheard of

thing in staid old London! Newspaper photographers were
there en masse and a motion picture camera was set up. Many
ambitious mothers with their enterprising debutante daughters
paused and posed before the lenses, not knowing there was no
film in the camera.

The young men responsible for this thought it a priceless
joke. It never occurred to them that they could have coined
money with their motion picture film of these great ones of
England.

CONCERNING Doug Fairbanks, Sr., there is a story being
whispered in select Mayfair circles. It seems that Doug,
according to the rumor, let the manager of the London sales-

Doug air-planed 300 miles every night-

— To see pretty actress Gertrude Lawrence

rooms of one of the highest priced cars in the world know that
he might be a prospective purchaser. Immediately, in accord-
ance with long established custom, the manager offered the star
the use of a brand-new car, complete with a liveried chauffeur,
for a twenty-four hour try-out.

In this car Doug drove Prince George, the younger brother
of the Prince of Wales, down to the studios at Elstree and
showed him over the lot on which he and Alexander Korda
preside.

Doug wasn't quite sure whether or not he liked the car, so the
next day he took a little party of notables to the races with the
self-same driver at the wheel. When later the manager of the
motor salesrooms phoned one of Doug's secretaries, he was told

H. B. Warner re-makes "Sorrell and Son" in England

that the star decided the car wasn't
quite what he wanted.
A touch of Scotch thrift?

AS for young Doug, he traveled
three hundred miles every
night — the round trip from Elstree
to Manchester, where Gertrude
Lawrence appeared in "Nymph
Errant" (a musical show being
tried out) , now running in London.
To make the journey, young
Doug chartered a private airplane,
which permitted him to remain on
the set of the picture he is making,
" Catherine the Great," as late as
seven o'clock in the evening and
still be in his front row seat in time
for the rise of the first act curtain
of "Nymph Errant" in Man-
chester.

He and Gertrude are seen at some
one of the smart London night
clubs every night in the week.
Both deny any truth in the per-
sistent rumor that an engagement
is in the offing.

WITH Charles Laughton, at
the premiere of "Henry
VIII," were his five "wives" — and
they were as lovely in the flesh as
they are on the screen. Laughton
told me that Korda had succeeded
in persuading all of these English
women to be adamant in their re-
fusal to accept tempting offers
that have already come their way
from Hollywood.

The girls are Binnie Barnes,
Elsa Lanchester (Mrs. Charles
Laughton), Merle Oberon, Everly
Gregg and Wendy Barrie — as

She adores London and wants to stay permanently

lovely a quintette as you'd want
to see.

According to Laughton, the act-
ing of these women has created
something of a sensation in Holly-
wood where "Henry VIII" has
been on view.

They have all promised Korda
to keep on saying "No," however
alluring the Hollywood offers may
be.

SPEAKING of girls who say
"No" (sounds like a good title
for a picture, what?) I had tea the
other day at the Ritz with Dor-
othy Hyson.

You don't know her? You
never heard of her?

Dear, dear!

Well, she only happened to have
her name above Karloff's on bill-
boards and in electric lights when
the British-made film, "The
Ghoul," was released here.

And if you can top Karloff in
England you're sonic star.

DOROTHY is the daughter of
thatotherperenniallyyouthful
Dorothy — Dickson. And although
she has lived almost all of her life
on this side of the water she has
an American accent you could cut
with a knife.

The interesting thing about her
is the fact that she is probably the
only human being in the world
who ever had five separate offers
from five different Hollywood
studios — and turned them all
down flat.

[ PLEASE TURN TO PAGE 110 ]

2 77

Made exclusively for Photoplay by Renato Toppi

"DUSTER KEATON didn't intend to be a comedian. His
-*-* first role was a serious one. But when Buster was serious,
he looked so funny — he got laughs in spite of himself! The
dead-pan artist has joined the foreign invasion now and is
planning to leave for England to make a movie over there

Helen Twelvetrees
has lived four kinds
of lives. Now hap-
pily married to Jack
Woody she is gradu-
ally forgetting the
bitter sorrows of the
past and learning to
laugh all over again

I HAVE always been inclined to smile at that line about an
actress having to "live" before she can really act.
Probably you have, too. Don't you sometimes wonder
just where the necessary "living" leaves off, and dramatic
license begins? Hasn't it often seemed like glorified, gilded
excuses for "living"?

I had a firm grip on that conviction right up until eleven
o'clock this morning, when Helen Twelvetrees proved that, like
many other treasured theories, that one won't hold water when
you meet it face to face.

In her brief span of twenty-five years, Helen Twelvetrees
has lived — both with and without quotes. This ethereal-look-
ing little girl has lived four separate and distinct lives, and each
as different as if it had been spent on a separate continent.

And she had no more to say about it, no more control over it,
than you would have had.

Girls— even exquisite, poignantly beautiful little cream-and-
gold girls — don't just go shopping for
Destiny. D r> ± 1

Helen explains it this way. " You can't D J ^ U l

say 'I'll take one of these experiences, a couple of those over
there trimmed in blue, and you might send along that stunning
black one on approval.'

"Before you are twenty you choose, blindly, what your im-
pulses and emotions tell you to choose. Then you desperately
try to re-shape, re-organize what you have drawn, into what
you want it to be. It's a form of self-hypnosis, peculiar to
women. They go on fixing over — building the merest suggestion
of a good point here into a lasting virtue. Weeding out a bad
one there, adroitly as they know how. It works — that is, it
works if they have good material to start with." Helen's
stricken blue eyes were remote, far away from her spacious,
serene living-room, with the cool white flowers.

Perhaps she was looking back at nineteen-year-old Helen
Jurgens, just out of school, who married a young actor named
Clark Twelvetrees, who was also nineteen. That was her
second life — and what a life!

The girl who had lived her sheltered
A? ci n lc i n an(l Protected girlhood in the comfortable

IV unit I II Brooklyn Heights home, shielded by the

tender, loving care of a devoted father and mother, stepped
blindly into a sea of turbulent emotions she never imagined
possible — until it happened to her. A child who had never
known bitterness, poverty, or the strange ways of man — a
trusting, wide-eyed youngster and a perfect "natural" for cruel
disillusionment.

Life moved in on the new Mrs. Twelvetrees with a ven-
geance. She soon discovered that her young husband, who
could be so frantically in love with her, could be equally jealous,
negligent, and — shall we say — temperamental?

The two years that followed were as tragic an introduction
to life as any young girl has ever had. Helen would just as
soon have this part skipped over. In her new happiness she has
forgotten it — so far as one can forget. But this second life is an
integral and important part of her amazingly complete and
separate four lives. It has been erased from her conscious
memory. What she cannot erase is the look of one who has
seen sorrow and tragedy that lingers in her sapphire-blue eyes.

After Helen's outstanding performance in "An American
Tragedy" and other plays on Broadway, she signed a contract
with Fox. Helen set out for Hollywood with high hopes — and
a difficult young husband.

Their days of housekeeping in a furnished room were over.
But plenty of new problems cropped up.

CLARK Twelvetrees had no contract. And he was too young
to get the best perspective on things. He adored his wife.
She adored him. But his high emotionalism wore away the
solid rock of Helen's love for him.

"You can break a lovely vase," Helen said, thoughtfully,
"and put it back together with painstaking care — gluing each
separate fragment — until, at a distance, the mended places
won't show. But it is never the same again. No matter how
delicately you handle it, some day you will forget — and then
the insecure, temporary makeshift will shatter in your hands."

Helen Twelvetrees patched up her marriage until none of the
original structure remained. The gentle girl who couldn't bear
to hurt any living thing, allowed it to die a lingering, ghastly
death for fully a year after a stronger-minded woman would

have severed the tie abruptly, and started over without a back-
ward look.

Helen's next life was the play-girl. Oh yes, she was ripe for
that. Where the laughter was loudest, the hour latest, there
was Helen — disillusioned, bewildered, hysterically trying to be
the life of the party.

Her marriage left her a heritage of debts like an ominous
cloud hovering over her head. And then — the climax. Her
year's contract was up, and Fox made no offer to renew it.

A BAFFLED, frail wisp of a youngster, about twenty-one,
alone, broke, faced with debts that would stagger any
man — not a remote hope to cling to.

What does a girl do in a spot like that?

She either goes back home, defeated, and is never heard of
again, or she props up her chin and sees it through.

Helen bought a ticket home. Then — she decided to stick it
out in Hollywood.

Soon she was rewarded with two good parts. The one in
"The Grand Parade" led to "Her Man." Then "Millie."

And Hollywood discovered it had been harboring, all un-
aware, an at tress.

I think Helen's life actually begins here. All that went before
was preparation for the very real, full, happy existence that is
now hers.

Her five years in Hollywood have been filled with amazing
development and experience. Fate exhausted all her whims on
Helen — then capriciously turned and showered her with an
abundance of the things she had so long been denied. A bril-
liant career, a splendid dependable husband (Jack Woody), a
beautiful baby, a lovely home set in the midst of spacious
flowering gardens.

Is it any wonder that the new Helen Twelvetrees is a radi-
antly beautiful young woman, with the haunted look almost
gone from her eyes — all gone, when she talks about her baby.

In the spring of 1933, after she finished her first picture at
Paramount, "A Bedtime Story," with Chevalier and Baby
LeRoy, Helen said, " I felt right at home, working with a baby,
and a man whom my husband [ please turn to page 91 ]

There isn't even the gleam of a sock in his eye. For James Cagney has gone to the other extreme. He has donned a
velour jacket and satin knee breeches, and he wins his ladies now by chucking them fondly under the chin! The
recipient of this very gentle caress is Margaret Lindsay. She and Jimmy are playing together in "Lady Killer"

PHOTOPLAY'S

Hollywood Beauty Sh

All the beauty tricks of all the
stars brought to you each month

Conducted
By Carolyn
Van W y c k

GLORIA STUART,
costumed for the
leading feminine role in
ieloved," is appro-
priately pictured with a
favorite perfume that is
the essence of Parisian
loveliness. The top of
the box lifts, the front
falls forward to revea
a flask of classic design

A PERFUME gift to thrill any
/Vfeminine heart is this ultra-
modern inspiration, used by
Carole Lombard. \t is an allur-
ing, zestful scent, embodying the
spirit of today. In insert, Carole's

ovely hands hold the perfume in
its outer covering, a chic box
bound with metal and seal, after
the manner of the French air mail.'
Observe Carole's lacquered nails

CHRISTMAS NOTE

IT'S adorable," says Lona Andre in "Take a
iChance," of this cunning atomizer, designed
for the traveler. The ingenious crystal bottle
is enclosed in a smart green, red, blue or black
leather case. It is evaporation and spill proof

AKNICKKNACK that many girls will we
come is this protective head covering o
perforated cellophane, worn by Judith Allen.
It keeps curls and make-up intact when dressing
and protects your garments from lipstick

pOLLEEN MGORE had an orgy
v — of Christmas shopping recently.
Among her purchases is this pow-
der set, for day and night, for every
skin, in peachbloom and rachel
tones. Boxed in lustrous silver,
attractively beribboned in holiday
mood. A gift to please everyone

:ROM HOLLYWOOD

AS enchanting as the luxurious
bath powder which it holds,
is this silver crystal glass container.
Colleen Moore likes the delicate
flesh tone of the powder and the
soft lamb's wool puff. When the
powder is gone, you will find
many uses forthe lovely, unusual box

'#•.<■

fw«

SHIRLEY GREY, whom you will soon see in
"Hold the Press," is using a foreign essence,
a cross between a perfume and toilet water,
that has sophisticates simply raving about it.
Pungent, very de luxe, it is a gift divine

ALMOST too beautiful," comments Colleen
Moore of this gorgeously packaged per-
fume, just off the boat from Paris. The fluted
aeon, against a mirror etched with clock hands
pointing to twelve, contains a heavenly odeur

■^tel

4ft»

Last Minute

Ideas For
Beauty Gifts

■

A REMEMBRANCE
/ \superb is this clear cut
atomizer in crystal, smoke
or amethyst, which de-
lishts Lona Andre. Lona
repeats the importance of
perfuming yourself instead
of your clothing. Inside
neckline, neck, ears, hair,
hands are strategic points

*W*L

* f

pOLLEEN MOORE

> — likes the delicate,
subtle whiff of
sophistication classically
bottled in crystal column
with marbleized top. A
perfume reflecting the
glamour of life and love-
liness. In perfect taste;
suited to all occasions

THERE is a thrill,
I an electric spark,
in Helen Hayes'
perfume choice, at-
tuned to the mys-
tery, beauty and
soft magic of night.
Both bottle and
box d r z imag-
inative creations

DETTY FURNESS

•-^prefers a touch
of fragrance to her
ears. Her favorite
is an English gar-
den bouquet, gay,
bri 1 1 iant, as ex-
hilarating asa
flowerbed in June.
New dropper bottle

( For More Beauty Tips Turn to Page 94 )

CAMELS ARE MADE FROM FINER, MORE EXPENSIVE
TOBACCOS THAN ANY OTHER POPULAR BRAND

"Quality is just as important in
cigarettes as in anything else. I prefer
Camels because they are mild with-
out being flat," says Mrs. Coolidge
sincerely. "And I enjoy their full
rich flavor — I never tire of their taste
nor do they get on my nerves. Of
course, I keep other brands in the
house, too, in case some guest might
want them, but I notice that Camels

seem to be the general favorite."
Camels keep right on tasting so
good because of their costlier tobac-
cos. They never make your nerves
"jumpy," always give you a smoke
that never tires.

Leaf tobaccos for cigarettes can
be bought from 50 a pound to §1.00
— but Camel pays the millions more
that insure your enjoyment.

■ Mrs. J. Gardner Coolidge, 2nd
divides her time charmingly be-
tween her serenely spacious house
in Brookline, Massachusetts and the
Coolidge Island in Squam Lake. Her
energy and enthusiasm are inex-
haustible and besides closely super-
vising the education of her four
children she gardens a great deal,
plays badminton and tennis, swims
and climbs mountains. She loves
dogs and raises dachshunds with
great success. She gives charming
dinners and her panned oysters in a
tomato sauce are celebrated. She
always smokes Camel cigarettes.

The Smart Gift!

INEXPENSIVE-VET it has
"LUXURY APPEAL"

N GIVING

Beautiful
Gift

Announcement
Card

With each sub-
scription you
will receive a
beautiful card
to sign and
mail, or if you
prefer, hand to
your friend
Christmas Day.

PHOTOPLAY

GIFT SUBSCRIPTIONS

YOU KNOW THAT YOU HAVE
CHOSEN THE BEST MONEY CAN BUY

Not only at Christmas — but all the year long
Photoplay will remind your friends of holiday
thoughts.

They'll enjoy every issue, for Photoplay is chock full
of those bits of news, life sketches and photos that
add to the glamour of moving pictures.

Photoplay is an economical gift — yet its worth to
the recipient is far greater than its cost — a Photoplay
gift subscription is never reckoned in dollars and cents.

Single subscriptions $2.50 per year.

SPECIAL GIFT OFFER

You may
send as many as
you 1 i k e —
There's no limit.

One- Year or
one two-year
subscription to
PHOTOPLAY

1/100

Send $2.00 for each additional gift subscription.
For foreign and Canada add $1.00 per year for each yearly subscription.

PHOTOPLAY MAGAZINE,

919 N. Michigan Ave., Chicago, 111.

I want to take advantage of your offer and enclose $ to pay for the following

subscriptions:

□ 1 year.

□ 2 years.

Friend's Name.

Address

City.

State.

□ New.

O Renewal.

Q 1 year.
□ 2 years.

Friend's Name.

Address

City.

□ Ne

□ Re

State.

al.

Q 1 year. □ 2 years.

My Name .

Addr

City State . . . .

Q New. □ Renewal.

Use regular stationery to list aJditional subscriptions.

Ph-1-34

THE culinary
department may
not hold any special
charm for you most of
the year. But during the
holidays, almost every girl or
woman has the urge to sur-
prise the family with little
delicacies of her own making.
"Cookies," says Judith
Allen, "have always been the
most irresistible things turned
out in a kitchen. You can
vary them so much, cut fancy
shapes, and really enjoy mak-
ing them."

One prime favorite, this
time of year, is the old-fash-
ioned New Year's Cake, with
caraway seeds. Here is
Judith's recipe:

Beat 2 eggs until light, add
1 cup sugar gradually. Then
add 132 tablespoons caraway
seeds, 1 cup thick cream and
3 cups flour mixed and sifted
with 3 teaspoons baking pow-
der and 1 teaspoon salt. Place
in refrigerator overnight to
chill. Now pat out on floured
board, and roll quarter of an
inch thick. Cut into desired
shapes with cutters. Bake on
buttered sheet or tin in mod-
erate oven until delicate
brown.

Another tempter:
Butter Cookies — Cream one
pound butter until smooth,
add 1 cup sugar. Beat 2 egg
yolks and add. Then rind of
half a lemon, grated. Sift 6
cups flour, 1 teaspoon baking
powder and 1 teaspoon salt.

When the spicy, enchanting aromas drift out, Judith
Allen, like most of us girls, is lured kitchenward.
Here she is mixing batter for Date and Nut Sticks

Now add juice of half
a lemon. Mix to smooth

dough, and chill several
hours. Roll out on floured
board, brush over top with
unbeaten white of egg, cut in
shapes desired. Sprinkle
sugar over cookies and add
nuts, cocoanut, maraschino
cherry or any decoration you
like.

Bake fifteen minutes in
moderate oven. Shown with
cocoanut, upper right hand
corner of illustration.

Spice Cookies — Cream %
cup butter and P-j cups
sugar, add 2 beaten eggs.
Then 1 cup seeded raisins, 1
teaspoon each cinnamon,
cloves, nutmeg, and alter-
nately, 2x/2 cups flour sifted
with 34 teaspoon salt, and 3
tablespoons sour milk in
which 1 teaspoon soda has
been dissolved. Chopped
nuts may be added. Drop by
teaspoons on buttered tins.
Bake in hot oven until light
brown. Pictured at bottom
of illustration.

Date and Nat Sticks— Beat
2 eggs until light, add % cup
powdered sugar, 1 cup each
chopped walnuts and dates.
Add 3 tablespoons flour grad-
ually, sifted with 1 teaspoon
baking powder and pinch of
salt.

Spread in shallow oblong
pans, buttered. Bake in
moderate oven. Cut in strips
before cold. Shown in upper
left hand corner.

Photoplay Magazine for January, 1934

•• W hvn a man begins to
take you for grant eil* looh
out! Capture for gourself
glamorous eomplexion
loveliness the tvuy the Sereen
Stars do. 3Men are always
stirred by lovely shin!"

She knows her husband really loves her still, and yet
something that was precious has been lost. She is taken
for granted, neglected. Love has grown humdrum, stale.

DON'T let love grow humdrum!"
This is the warning Helen Twelve-
trees sends to the many perplexed
women who write this charming screen
star for advice.

"When a man begins to take you
for granted," she says, "look out!"

Then she tells Hollywood's secret
of winning — and holding — adora-
tion. " Capture for yourself glamorous
complexion loveliness. You can do
it the way the screen stars do. Men

Photoplay Magazine for January, 1934

She learns the Hollywood secret — that a velvet-smooth,
tender skin has a charm men can't resist. She begins to
use the Hollywood way to this complexion loveliness.

She begins to live over again the thrill of honeymoon
days! Eager eyes search the new, seductive beauty of her
face. Now love is glamorous again, life is colorful, gay!

are always stirred by lovely skin!"

Of the 694 important Hollywood
actresses, including all stars, actually
686 use Lux Toilet Soap to keep their
complexions always lovely. It is the
official soap in all the large film
studios.

Don't be satisfied with a skin that
just "gets by." Have a skin flawlessly
lovely— irresistible. Begin today to use
fragrant, white Lux Toilet Soap regu-
larly, just as Helen Twelvetrees does!

the Beauty
Soap of the
Stars make
your skin
Lrlamorous

Ask The A

nswei

It's too late to run out now, Charlie. The old Answer Man has broken
down and here confesses everything to your growing army of admirers

CHARLES BUTTERWORTH gave the
tall, dark and handsome heroes a run for
honors this month. The readers are just
crazy about his line of comedy and his daffy
expressions, and call him a first-rate picture
stealer. They are so persistent in asking about
him, that I'll just have to confess all I know.

Although he has often been taken for an
Englishman, Charlie is an Indiana boy, born
in South Bend, July 26, 1899. As a lad his one
ambition was to be a piano tuner. This idea
fell through when he woke up to the fact that
he was graduating from Notre Dame Univer-
sity with a law degree. And all the time he
thought he was studying medicine. He passed
the Indiana State bar exams and hung out his
shingle. Two years it hung and then he de-
cided he would try journalism. Wrote the
obituary of a prominent South Bend citizen,
only to find that the man wasn't even sick.
For this he was fired.

Took to doing a single in vaudeville and
played every barn that would book his act.
Bookings became scarce and he secured a job
as secretary to J. P. McEvoy, playwright and
humorist. Through J. P. he was cast in "Amer-
icana," in which he delivered his famous "Ro-

tary Club" speech and sent the audience into
convulsions. Following this he played promi-
nent stage roles in "Allez Oop," "Good Boy,"
and "Sweet Adeline." While appearing in the
latter, Warners signed him up and he made
his movie bow in "The Life of the Party"
with Winnie Lightner.

Charlie is 5 feet, 7 inches tall; weighs 135
and has light brown hair and blue eyes. His
sole interest in politics is to study the ward-
robes of the Congressmen. He gets grand ideas
for funny costumes from them. He is very
fond of fishing, but always falls asleep on the
job. Can't you just hear him say, "Ah, the
pity of it?" He is also fond of tennis, swim-
ming and motoring. Has a wire-haired terrier
who answers to the name of "Jerry."

In the summer of 1932 Charlie left pictures
and returned to Broadway to play in "Flying
Colors." It was during the run of this play
that he and Ethel Kenyon were married.
Later he returned to pictures. His grand work
in "Penthouse" with Warner Baxter won him
a long term contract with M-G-M.

Helen Lantz, Chicago, III. — William
Haines has deserted pictures and is devoting

Read This Before Asking Questions

Avoid questions that call for unduly long an-
swers, such as synopses of plays. Do not inquire
concerning religion, scenario writing, or studio em-
ployment. Write on only one side of the paper.
Sign your full name and address. For a personal
reply, enclose a stamped, self-addressed envelope.

Casts and Addresses

As these take up much space, we treat such sub-
jects in a different way from other questions. For
this kind of information, a stamped, self-addressed
envelope must always be sent. Address all inquiries
to Questions and Answers, Photoplay Magazine,
22i W. 57th St., New York City.

all his time to interior decorating. John Beal
has returned to the New York stage.

Lena Worhlet, Bluefield, W. Va. — The
following stars appeared in "The Big Parade"
— John Gilbert, Renee Adoree, Hobart Bos-
worth, Claire McDowell, Claire Adams, Robert
Ober, Tom O'Brien, Karl Dane and Rosita
Marstini.

Bonnie Ray Tyler, Moline, III. — Bonnie,
how did you like the Jack LaRue story in our
November issue? Some of the stars who cele-
brate their birthdays in August are Dolores Del
Rio, Sylvia Sidney, Myrna Loy, Buddy Rogers,
Ann Dvorak, Ann Harding, Charles Farrell,
Norma Shearer and Madge Evans.

Helen Mattison, Exeter Boro, Penn. —
Helen, when you ask questions, you certainly
asks 'em. I'd have to sit down and write a
book in order to give the information on the
thirty-six stars you ask about. You see, actors
and actresses come and go and it is rather a
problem to keep track of them once they leave
the screen. Lois Moran and Jean Arthur are
appearing in plays on Broadway. Dolores Del
Rio and Johnny Mack Brown are busy making
pictures. Enid Bennett played the part of
Jackie Cooper's mother in "Skippy." Send a
stamped return envelope for the rest of the
information. I haven't space for it here.

Several Latin Women, Buenos Aires,
S. A. — By the looks of the two-toned typing,
two of you girls must have played a duet on the
keys. Well, your "Prince of Dreams," Gene
Raymond, was born in New York City on
August 13, 1908. He is 5 feet, 10 inches tall;
weighs 157 and has blond hair and blue eyes.
Was educated in private schools. Entered
pictures in 1931. Watch for him in "Brief
Moment," "Flying Down to Rio" and "The
House on 56th Street." His favorite recrea-
tion is horseback riding.

James Ryan, Mathmen, Mass. — In the
English version of "Paddy, the Next Best
Thing" made in 1923, Lillian Douglas played
the role of Eileen, Paddy's sister. Darby
Foster portrayed Laurence Blake which Warner
Baxter did in the American talkie version. I
have no information on the others you men-
tion.

A Fan, Clifton Forge, Va. — Dick Powell
and Ruby Keeler will be seen together again.
"Sweethearts Forever" is the picture.

Alice Murdach, Bremerton, Wash. —
Conrad Veidt was born in Berlin, Germany,
January 22, 1893. He is 6 feet, 2 inches tall;
weighs 165 and has brown hair and blue-gray
eyes. Has been in pictures since 1917. In
1927 and 1928 he made pictures in America.

Photoplay Magazine for January, 1934

Design for Acting

[ CONTINUED FROM I'AT.I SO

resembles strikingly. Of course, the baby's so
cute, they probably didn't even know I was in
the picture.

"Nothing like a baby to steal scenes — but if
a scene has to be stolen, there isn't anyone
I'd rather give it to!-'

SHE says it is a great relief not to have the
responsibility of stardom any longer. And
she means it.

"I'm tired of taking the blame if the picture
isn't good. Then, too, a star's years on the
screen are limited. The featured player has
many years. A star has too much footage in
the picture."

Helen is the screen's Premiere Mistress of
Contradictions.

She looks so exquisitely angelic — and usually
plays naughty girls.

" Naturally, I don't want to be typed," she
said, "but the fact remains — usually the bad
girls are the good parts.

"Seems to me I'm the perpetually pure-at-
heart street-walker, always drooping over bars
while some director says, 'Now, Helen, you
must be very sweet about this naughty line.
Remember, you haven't the faintest idea what
it means!' "

Helen says she never gets tired of working,
and she never intends to stop.

"I don't know what to do when I'm idle,
having worked steadily since leaving school.
I hope to work always, until I'm a doddering
old character woman, even if I have to pay
them to let me!"

But Helen admits she is going to leave the
screen again for a little while (whisper), be-
cause sometime she wants her young son, Jack
■\Yoody, Jr., to have a little sister.

And then the last and best of Helen Twelve-
trees' four lives will be magnificently com-
plete!

wac amlle n.

MOTHER GOOSE a la HOLLYWOOD

Stan Laurel has no fat
His partner has no lean,
And so betwixt them both
They make a good screen team

These knitted outfits started out even.
Same manufacturer. Bought in the
same department store. Same price.
Same size. Same soft wooliness!

In the picture above they are worn
by the same baby.

What makes the differences? The
washing, my dears! The suit on the
right was washed correctly with pure,
fluffy IVORY SNOW which dissolves
perfectly in LUKEWARM water. The
other one wasn't.

YOU CAN DO IT!

In the column at the right are direc-
tions for washing wools SAFELY.
Read them carefully and follow them
exactly to get perfect results.

1. Lay garment on paper and cut or
draw outline to show size.

2. Make a generous lukewarm Ivory
Snow suds. You can safely use enough
SNOW to make big, rich suds because
Ivory Snow is pure.

3. Don't rub. A big fluffy Ivory Snow
suds saves rubbing. Cup garment in
your hands and squeeze suds through.
Two sudsings are better than one.

4. Rinse in 3 lukewarm waters of the
same temperature as your SNOW
suds. Squeeze out as much water as
possible without twisting or wringing.

5. Lay garment on your paper pattern
and pull it back gently to size. Dry it
flat away from heat.

How Sylvia Changed Ruth Chatterton's Nose and Figure

CONTINUED FROM PAGE 37 ]

That night she was very happy and humble.
''I shall never forget Emil Jannings for giving
me this part," she said.

In a few months she was a sensation on the
screen. She began to realize her importance,
and many of the people she worked with did
not like her. You see, they didn't understand
that a stage actress has a different attitude
from picture people.

In Hollywood everybody is called by his
first name. Ruth insisted upon being called
"Miss Chatterton."

Once when a fresh little office boy said,
"Hello, Ruth," she was furious.

ALL of this — her long wait for success, her
sudden rise to fame and the fact that she
wasn't popular with her set workers — made her
nervous and tense. Once Ralph Forbes, who
was then her husband, said to me, "Can't you
do something to make Ruth's figure more
supple?"

"You bet I can," I said. For I knew that
she needed grace and ease to put over her roles
on the screen.

You girls, in order to be graceful, must have
supple muscles. You must never tighten up.

To get rid of the tension which makes you stiff
and awkward, massage your spine well every
night and every morning, paying particular
attention to the back of the neck. That's
where the tenseness is. Then with your hands
work under the shoulder muscles, so your arms
will be free and graceful. Whenever a muscle
is tight, dig into that muscle and massage the
nervousness right out of it. Act as if you were
a football player or a prize-fighter and that you
were your own trainer. Those men are always
supple because their muscles are kept limbered
up.

Take plenty of stretching exercises. Dance
by yourself to a good snappy tune on the radio.
Whenever you feel yourself getting tense, relax
every muscle in your body. You must think
of it constantly, but this continual remember-
ing to relax will give you grace and poise. Take
it easy, girls.

Put pep and spring into your walk but keep
those muscles supple. Grace will do wonders
for your figure and will cover a multitude of
sins.

As I've said, Ruth didn't need to go on a
strenuous reducing diet. One of her favorite
dishes is fish. One night as I was leaving,

Ralph Forbes called me into the kitchen and
said, "Here — take these fish. I'm fed up with
fish. I never wish to see another one again."
There were six lovely mountain trout and I
took them gladly, but I've often wondered
what Ruth said to Ralph when she found that
he had given them away.

As a matter of fact, Ruth needed fish in her
diet.

You see, since she was so nervous, she could
not have stimulating food.

She loved steaks — which are not good for a
nervous person. She liked highly seasoned
food which I would not let her have. I would
not allow her to use pepper.

T\ 7HEN you're suffering from nerves you
** must stay away from these stimulating
foods. You must eat the simplest dishes,
cooked simply.

Heavy meats and high seasonings are abso-
lutely out! And don't forget it! I never let
Ruth Chatterton forget!

Now get busy! You can completely remodel
yourselves if you'll just do everything I tell
you. But be careful of that nose massage.
Take it easy!

Answers by Sylvia

CORRECTING BAD POSTURE

Dear Madame Sylvia:

You must help me with my posture. I have
a horrible walk. My shoulders slope and my
lower jaw sticks out. What can I do?

F. G., Fort Smith, Ark.

No one can help you with your posture but
yourself! If your shoulders slope — hold them
up. If your jaw sticks out — hold it in! You
can take back-bending exercises to strengthen
the muscles in your back. You can build your-
self up generally and acquire some pep and
vigor; but the task of holding up your shoulders
and holding in your chin is a job that you do
simply by having will power and stick-to-it-
ive-ness.

I've told this before but perhaps some of you
don't remember it. A grand way to hold your
shoulders up is to get a friend of yours to give
you a good, hard sock on the back every time
you slump.

That will make you remember!

DIET FOR COMPLEXION

Dear Sylvia:

Will you please repeat the complexion diet
that you gave Jean Harlow? Thank you.

Mrs. R. H. T., Pueblo, Colo.

Okay — here you are! Once a month for'five
days, consecutively, do this: Take a quart box
of raspberries or cherries and, without rinsing
them, put in cold water over a slow fire. Use
just enough water to cover them. Boil slowly
for about an hour. Spread a double layer of
cheesecloth in a sieve and let the juice strain
through this overnight.

Drink a glass of this juice the first thing in
the morning.

Two hours after you've taken the juice drink
a glass of skimmed milk. Drink a glass of
skimmed milk every two hours until you've
had six or seven glasses.

Just before going to bed, drink a glass of
grapefruit juice.

When raspberries or cherries aren't in

TROUBLES, bothers, worries—
what a joy it is, girls, to be able to
help! You see here the kind of help-
ful advice Aunt Sylvia gives others.
If you want help, simply write Sylvia,
care of PHOTOPLAY Magazine, 221
West 57th Street, New York City, en-
closing a stamped, self-addressed en-
velope. No obligation — glad I can be
of assistance.

SYLVIA

season use tomato juice instead. That will
make your skin clear and beautiful.

CORRECTING LINED EYES

Dear Sylvia:

I have lines around my eyes and wish there
was something I could do before it is too late.
B. H. T., St. Paul, Minn.

It's a good thing to do something now but
don't get the idea that it is ever too late.
There's always time to be beautiful. Those
lines come from nerves and strain. Every
night before you go to sleep, lie in bed and
very gently, in a rotating movement, lightly
massage at the corner of each eye — the comer
nearer the ears.

Then, with the eyes closed, gently tap the
eyelids with the cushions of the fingertips.
Also work with your two hands at the spine at
the nape of the neck. People with lines around
their eyes are usually nervous. Relax as much
as you can.

FATTY LUMPS

My Dear Madame Sylvia:

I've taken the hip exercises you have given
and find them wonderful, but there's one stub-
born lump of fat just above the hips that won't
come off. Can you tell me something to do for
that? Also I want to take this time to tell you
that I have enjoyed your recent radio pro-
grams immensely.

R. W., New York City

I'm glad you like the programs. I have a lot
of fun doing them. Now about those lumps of
fat. Certainly, there are lots of stubborn
lumps that exercise won't take off. But you
can squeeze those lumps off with your own two
hands.

Just dig in and squeeze and don't be afraid
of hurting yourself. Then put a Turkish towel
over the lump and pound on it with the flat of
your hand.

Squeeze and pound — that will take bumps
down.

WHEN PEP IS LACKING

Dear Sylvia:

I don't know what's wrong with me. I seem
to be physically okay, but I just don't have
any pep. What should I do?

B. McD., Washington, D. C.

Maybe you're anemic. In that case you
should eat plenty of liver and drink as much
turnip-top juice as you can. Also liver extract.
Maybe you're eating too much rich food and
not getting enough exercise. Eat simple foods
cooked simply.

Begin the morning with a cool shower and
a good rub with a rough towel.

Then exercise for fifteen minutes. You
didn't tell me whether you are over or under
weight, so it's hard for me to advise.

SMOOTHING A WRINKLED NECK

Dear Madame Sylvia:

My complexion is pretty good but the skin
on my neck is coarse and lined. How can I
correct this defect?

C. V., Chattanooga, Tenn.

The reason your neck is lined is because you
don't treat it as well as you treat your face.
Whenever you use cold cream and lotions on
your face use them on your neck, too. And
when you're massaging your face carry the
strokes on to your neck. Lots of girls neglect
the tender skin of the neck. Get in the habit of
giving it careful attention.

Photoplay Magazine for January, 1934

'Til Be at Doc Law's

V99

[ CONTINUED FROM PAGE 31 ]

put on a benefit performance and raised about
six hundred dollars for the homeless people.
This Catholic father came from there, and he
said he'd give anything to meet Will Rogers.

"Right at that minute, believe it or not, in
Bill walked! Of course, I introduced the
priest, who grabbed him, and I thought he was
going to wrestle him right there. He was
pumping Bill's arm and telling him what a
great fellow he thought he was. That sincere
enthusiasm warmed my heart.

"The funny part of it is that before he left,
Bill was talking to him just as if he was a cow-
boy pal of his."

"TNOC drew a large beaker of foaming three-
■'-^point-two from the suds-dripping nozzle
of his new drug-store department, and raised
it above his close-clipped Buffalo Bill goatee.

"The night beer came back," he related, "I
had a hunch. Bill would be dropping in. You
know he doesn't touch tobacco in any form or
any kind of hard liquor, but he does enjoy a
good glass of beer every now and then. Of
course, I knew that there wasn't any use of
having any beer at the store, because you
couldn't get enough then to last a minute, so I
kept what I could get hold of up at the house.

"Sure enough, Bill wandered in a little later
and said he would kind of like to sample the
new stuff so he'd know what everybody was
talking about

" ' Come on up to the house, then,' I told
him, 'and we'll see what it's like.'

" 'Okay, Doc,' said Bill.

"So we tried out the brew in the kitchen of
my house, which, of course, isn't anything like
the place Bill's got up there on the hill. But
that never made any difference to him. He's
happiest, I think, when he's comfortable in his
overalls, boots and an old slouch hat, and when
he's in plain surroundings — so I didn't worry
about serving the refreshments in the kitchen.

"Speaking about houses, I remember one
time I told Bill if I ever got enough money, I
was going to build me a house high up on a
hill, all by itself.

"T already got one,' said Bill, 'but that
doesn't mean a thing. Why, I never know
what I'll meet on that trail leadin' down the
hill from my place. You ought to see the
critters that gather along that stretch.'

'"""["HEN Bill grinned and told me about the

*■ time not long ago when he was leaving in a
hurry for the East. His wife rushed around
the house packing his suitcases and getting him
ready to leave in double time so he could make
the train which left in a few minutes.

"Bill rushed out of the house and on down
the driveway to the gate, and there was a
whole crowd of people waiting for him. Sales-
men, solicitors, autograph hunters and people
that had always wanted to meet him, waiting
for him to come out. He was in an awful
hurry, but he couldn't just pass right on by all
those people waiting there to see him. It
wouldn't have been nice, he said. So he
stopped and talked to all of them.

' 'When I got through,' Bill said, 'doggone
if I hadn't missed the train!'

"What's that?" queried Doc Law. "Why
doesn't he keep his gate locked? Oh, he does.
It's locked all the time — tighter 'n a drum.
But that doesn't keep anybody out.

"No, because the key is hanging right
around the back of the gate-post; it's easy to
reach around there and get it. Everybody
knows that. How do they know it? Why, he
tells them, of course!"

Doc Law grinned and shook his head ex-
pressively as he hurried away up the counter to
assist a customer.

"That's Bill Rogers," he chuckled over his
shoulder.

Elided \-Yyy^znu Wru,
o&mmjyn ioy cyvd of 10 ujcrwwa

Ol£A

• Strange that no one ever did any-
thing about them! Until Phoenix
decided that never again need any
woman wear a stocking top that:
1— Gagged the thighs. 2 — Drifted
around on the knees. 3 — Failed to
meet the garters. 4 — Bunched up
clumsily because it was too long. . .
So Phoenix launched Custom-Fit Top,
which stretches both ways. It fits you
as though it had been made for you
and you alone. And it can be gartered
to any length without fear of garter
runs. Phoenix Custom-Fit Top is smart
Hollywood's choice. Women like the
"long mileage" foot and Certified
Silk, too. The pair, $1 to $1.95.

PHOENIX

"GIBSON GIRL"

COLORS

For wear wifh the lovely
off-shades of the early
1900's which have been
revived for our Fall
costumes — Phoenix has
created "Gibson Girl"
Hosiery colors. Tally-ho,
Tandem, Brownstone —
and many others! See
them in your favorite
shop, and consult the
free Phoenix Customers'
Individual Fashion Serv-
ice found on the counter.

HER FROCK — a custom model by
TRAVIS BANTON, Hollywood's famous
designer. HER HOSE— PHOENIX with
CUSTOM-FIT TOP. JUNE CLYDE of
Universal wears this costume (Above).

PHOEIMIX HOSIERY
wiih CUSTOM-FIT TOP

First Aid For The
Gift Shopping List

By Carolyn Van Wyck

a gay lipstick that does wonders for a particular
person, a powder that brings forth all the
natural beauty of her skin, a perfume that is
memorable, you cannot be quickly forgotten.

And here let me add a thought in this matter
of perfume giving. To be fine and in perfect
taste, perfume need no longer be an expensive
consideration, for you can buy costly brands
now in small vials, perfect for the purse or
dressing-table. Realizing the urgency of these
lean years, many manufacturers have been
\\ ise enough to bottle their precious fragrances
in junior bottles, well within reach of every-
one. Coupled with a gay handkerchief, the
smallest of perfume remembrances will grace
M>ck, tree or package with delight.

Then there are your more de luxe perfume
confections, a number of which are pictured
in the front pages of this department, where
creative art has inspired nectar and ambrosia
in scents as well as containers of great beauty.

Considering gifts from the very practical

A B O V E ,

/\ F I o r i n e

McKinney illus-
trates a new idea
in cream applica-
tion. That rubber
applicator helps
cleanse, tone and
clear the skin. Be-
low, Dolores Del
Rio, between
scenes for "Fly-
i n g Down to
Rio," dusts pow-
der from lashes
and brows with a
small, thin brush.

V\ THAT in all the world, except an engage-
** ment or wedding ring, has that sweet
mystery and sentimental appeal of a Christmas
gift package? There, safe in its tissue wrap-
pings and gay ribbon, lies a token for just you.
You may guess what it is, even shake it, smell
it, but you cannot know. And if you are good
and really want the full benediction of a Merry
Christmas, you will not open it until at least
Christmas Eve.

Every year Christmas shopping becomes
more of a problem, largely, I think, because
human imagination is forever deluging the
shops with things to delight and thrill the
feminine heart.

Following the example of the Hollywood
stars and giving beauty seems to me more in
accord with this season than all the other gift
notions rolled into one. Giving beauty some-
how seems an enduring thought. It makes the
giver unforgettable as it sometimes makes the
receiver, too. If you have been wise to choose

OUR Christmas list is full
of suggestions for gifts
and will also tell you of the
newest perfumes, powders
and other grand things. It
is yours on request, as well
as hair, skin, manicure and
personal daintiness leaflets.
Enclose separate stamped,
self-addressed envelope for
each leaflet. Carolyn Van
Wyck, PHOTOPLAY
Magazine, 221 West 57th
Street, New York City.

aspect, where is the woman who is not grate-
ful for a combination of cleansing cream, night
cream and tonic — the basic beauty prepara-
tions? You may purchase these separately,
or more likely find them combined in attrac-
tive sets in all prices and sizes.

Lipsticks usually make a big hit. There are
myriad grand ones from which to choose, as
well as combination packages of different tones.
One box contains three in popular tones suit-
able for all types, according to whim. A smart
affair in black and white comes for the evening
bag.

A manicure kit gift often starts the receiver
well on the path to lovely fingertips. And
what is more important today? You can buy
these from practical, modest sets at about fifty
cents on upward. This idea is a life-saver for
the small sister who bites her nails or is care-
less about them. Give her a kit and watch
the transformation.

TF the Christmas spirit completely overcomes
-'■you and you want to do a true human kind-
ness to friend, sister, mother or grandmother,
remember the permanent wave certificates that
many shops feature at Christmas. A gay cer-
tificate, resembling a counterfeit bill, reminds
the receiver that a permanent wave awaits her
whenever she would like to make an appoint-
ment. Here is a gift whose beauty is lasting
and uplifting.

Compacts are never superfluous on the gift
list. Where is the girl who ever had too
many? These are modern day budget sug-
gestions, too. One that caught my eye re-
cently is gold washed in appearance with em-
bellishment of simulated coral or turquoise,
guaranteed to add a touch of glamour to any
user. The wooden ones are cunning, too, and
sometimes permit the addition of metal ini-
tials, a very personal idea. For the girl who
likes lots of powder, those big, pan-cake
affairs are perfect. Formerly, they were models
of luxury, but charming ones now come for a
dollar or less.

Lovely perfume bottles, atomizers and pow-
der boxes always send me into a dither. I
want them all, and, apparently, so do others.
A gift of this type is always as welcome as a
glorious day. It doesn't matter how many one
has; a new arrival always gets first place.

WHEN you come to the male members of
your family, remember them in this class,
too. There are the usual shaving appurte-
nances, often topped with an after-shave lotion.
This makes a big hit. Don't I know how
brothers, husbands and fathers ransack the
bath cabinet, often stealing our favorite lotion
in lieu of possessing one themselves?

For the person interested in her home,
imagination runs riot. There is a fine soap
that you can buy literally by the yard. A
yard, cut in convenient rectangles, is nicely
boxed. There are a dozen and one gadgets
that any bathroom will welcome and that can
be used by a whole family.

If you go haywire on this job of last-minute
gift shopping, I suggest that you walk through
the toilet goods department of any good shop.
You will not be at loss for long.

With this beauty giving idea in mind, you
bring to this season of seasons some of the
meaning of that first star over Bethlehem and
help make it a Happy and Merry Christmas.

30 "0

o O j>

c 2

n 5

A strange discovery. ..an exciting test

Faded skin blooms again with new life

Women have proved what a scientist believed: that a natural substance
in Junis Cream produces remarkable results when applied to skin.

YOUTH at middle age is more
alluringthan at seventeen. What
a pity then that by the time most
women reach 40, youth has departed
from their skins.

A scientist knew that as skin grows
old it loses a certain substance — a
substance which makes skin fresh,
alluring — glamorous. So he got some
of this natural substance in pure
form. He put it into the finest facial
cream he could develop. Women tried
it and their skins grew clearer, more
transparent. Age lines melted into
the soft curves of youth. Skin
awakened.

Sebisol- what it is

The natural skin-softening sub-
stance the scientist put into Junis
Cream he named sebisol. Sebisol is
part of the chemical substance of

your own skin. It is essential to every
living cell. It is so rare, we had to
search the world to find a sufficient
supply. Pepsodent Junis Cream con-
tains pure sebisol. That, we believe,
explains why Junis Cream does
thrilling things. Whether sebisol alone
brings these results we cannot say.
But this we are told by women:
Pepsodent Junis Cream does for their
skins what other creams do not.

You need ?io other cream

As you apply Junis Cream, feel it
penetrate and cleanse. Feel it soften
and refresh. Note how rapidly it
spreads — so light in texture. Thus
you realize why Junis Cream is both
a cleansing and a night cream.

Many creams contain large quan-
tities of wax. Junis Cream does not.
Wax tends to clog the pores.

PEPSOjesj

We invite you to make this test

Try Pepsodent Junis Cream at our
expense. We believe you will be de-
lighted with results. You be the
judge. Junis Cream, we think, will
thrill you as it has thousands of
other women who have tried it. Send
the coupon at once.

THE PEPSODENT CO., CHICAGO

NOTE : This offer is available only
to residents of the United States.

CREAM

GENEROUS SUPPLY FREE m&'*m

We want you to try Pepsodent
Junis Facial Cream and see
how truly revolutionary it is.

Jin

NAME..

ADDRESS

JUNIS CREAM IS A PEPSODENT PRODUCT

CITY.

This coupon is not good after June 30. 193A

Winners of $1,500 for Movie Muddles

CONTINUED FROM PAGE 73

that one item which I will now be able to secure
with ease is my monthly copy of Photoplay —
my favorite magazine."

PEGGY CASTLE, who was awarded third
prize, revealed that her parents are in the in-
terior of revolutionary torn Cuba. She added:
"If I should be fortunate enough to win one of
the prizes, it would, I think, make me believe in
Santa Claus again. There is but one channel
into which every cent would be poured — the
perusal of literature. My star is a far-fetched
one, but my one ambition in life has been to
achieve a place in the literary world. Even to
think that a stepping stone may be placed in
my path seems almost too good to be true."

And Myrtle Lubold, who was awarded
fourth prize, wrote:

"Were I to be so fortunate as to be the
recipient of a Photoplay prize, I would con-
sider same as a blessing bestowed in a time of
urgent need. I have been upset of late, worry-
ing how I would be in a position to remit for

medical services rendered in a recent operation.
Any surplus remaining would be expended
toward the purchase of a winter coat for a
dear friend who has been out of work for over
three years. The latter in itself would be a
service deeply appreciated and sorely needed.

"It has been a real pleasure to compete in
this Photoplay contest, as the problems were
extremely interesting and enticing. Of course,
I must admit that I was assisted greatly by
the photographs illustrated in past copies of
your wonderful magazine. Being a steady
reader, I have learned to know the prominent
movie stars by sight and the rest was a matter
of careful planning and tireless patience."

It was extremely evident that many readers
of Photoplay look forward with interest to
this annual contest. Letters accompanying
many of the entries bear out that statement.
Also — and this should encourage many who
did not win a prize this year — many a prize-
winner in this contest did not win with previous
entries, but by coming back, won this time.

Of course, this was not considered in award-
ing prizes, for this was done without reference
to anything but the entry itself; but later we
found this to be true. So we say to all who
did not win this time: "There will be another
chance next year, and what you learned this
time should help you then."

A ND above all, Photoplay is happy to note
•**the high degree of pleasure so many of its
contestants took just in working out the
Muddles, entirely apart from prizes. Many
of them wrote to say how much enjoyment it
gave them to test their knowledge and skill in
this way, and that should they win a prize, it
would be just that much extra enjoyment.

Unquestionably, this year's Movie Muddles
were a source of keen enjoyment in themselves
— and Photoplay is happy to have offered a
contest so pleasing from its very nature, with-
out regard to the prizes offered.

The prize winners, in addition to the first
four named, are as follows:

Additional Prize Winners

$10 PRIZE WINNERS

Madeline E. Baker
698 McMillam Ave., Winnipeg, Canada

Otto Raabe
1103 Douglas, Burlingame, Calif.

Miss Consuelo Romero
138 S. Townsend St., Los Angeles, Calif.

Herbert W. Jarand

56 Willowdale Ave., Outremont, Montreal. Q.

Canada

Luis Zaldidor
2-A Industria 56, Tacubaya, Mexico

Mrs. Charles O. Greenlee, Jr.
523 N. 9th St., Fort Dodge, Iowa

Kenneth D. Burdick
24 N. 10th St., Kansas City, Kan.

Evelyn L. Svedeman
82 Seaver St., Stoughton, Mass.

Catherine Quinn
4th Floor, Watson Bldg., Cleveland, Ohio

Mrs. J. K. Dyer
2094 Monroe Ave., Memphis, Tenn.

Marie E. Lewis
542 N. E. San Rafael St., Portland, Ore.

R. J. McGrath
833 University Ave., Syracuse, N. V.

Charles Woodhams
4430}4 N. Seeley Ave., Chicago, 111.

Helen C. Barker
5823 Christian St., Philadelphia. Penna.

Miss Lillie Neyphe
2136 X. W. 12th St., Oklahoma City, Okla.

Mrs. Mamie Cardarel
66 S. Myrtle St., Vineland, N. J.

W. B. McGrew
2320 E. 9th St., Des Moines, Iowa

Mrs. Richard B. Smith
933 Main St., Honesdale, Penna.

Carl O. Froelich
2125 S. 88th St., West Allis, Wis.

Mrs. Helen Spears
817 N. Main St., Mitchell, S. D.

Mrs. R. H. Houghton

3605 19th Ave., Kenosha, Wis.

Charles Stevenson
P. O. Box 791, Menlo Park, Calif.

Mary Alice Gray
1027 8th Ave., New Brighton, Penna.

Mary C. Miller
866,4 N. Jefferson St., Springfield, Mo.

Erica Haxka Gorecki

c/o Bastable & Co., 15 E. 53rd St., New York,

N. Y.

Mrs. Palmer M. Hanson
Scobey, Mont.

Mrs. Madeline N. Ward
4716 Lyndale Ave., So., Minneapolis, Minn.

Eleanor R. Dusbane
254 S. Cayuga St., Williamsville, N. Y.

Mrs. Kathryn Schmidt
780 N. Avalon, Memphis, Tenn.

Clarence Frommader
R. R. 2, Ft. Atkinson, Wis.

Dorothy Grimes
420 W. 65th St., Los Angeles, Calif.

Daniel Ross
1138 S. Richmond St., Chicago, 111.

Anna Pschampke
4943 W. 8th St., Philadelphia, Penna.

Elizabeth LaFine
1509 S. Central Park Ave., Chicago, 111.

Martha M. Rippell
90 N. Pearl St., Buffalo, N. Y.

Ingerid Arvesen
4325 W. 6th St., Duluth, Minn.

Leona Luther
1425 S. 88th St., West Allis, Wis.

Anna C. Glass
3815 W. Grenshaw St., Chicago, 111.

John L. Thompson
235 S. Hood St., Lynchburg, Va.

Margaret T. Howell
112 S. Milton Ave., Clarendon, Va.

$5 PRIZE WINNERS

Mary Elizabeth Jones
241 Shaubut St., Mankato, Minn.

Boris Belsky
2703 Buot St., San Francisco, Calif.

Betty Allenwood
1635 Lewis Drive, Lake Wood, Ohio

Jennie Broudy
440 E. 67th St., Chicago, 111.

Mrs. Arthur J. Ess
515 Griggs Place, E. Aurora, N. Y.

Tom Allen
15 Laird St., Sault Ste. Marie, Ontario, Canada

Herman H. Lefkowitz
1216 Laugham Ave., Camden, N. J.

Mrs. E. D. Lintz
Warrington, Fla.

Miss Wynona Bacon
1630 California St., Denver, Colo.

Miss Elizabeth Ferris
Macon, Miss.

Marion L. Harrington
38 Gard Ave., Bronxville, N. Y.

Elise A. Meyer
2836 Lombardy Ct., Augusta, Ga.

Mrs. George Foley
1000 16th St., Racine, Wis.

Mrs. Fred Naiden
408 N. 9th St., Marshalltown, Iowa

Mrs. Hallis Webster
4626 W. Capitol Drive, Milwaukee, Wis.

Wm. J. Brazier
Box 8, Woodbury Heights, N. J.

Mrs. J. R. Perry
544 E. Main St., New Iberia, La.

Mrs. Mary Bookw alter
160 E. 11th St., Upland, Calif.

Theodore Torrison
4023 Quail Ave., Robbinsdale, Minn.

Miss Maud Petithory
P. O. Box 1228, Jacksonville, Fla.

Mrs. Anna Hasenzahl
63 Rossford Ave., Ft. Thomas, Ky.

Photoplay Magazine for January, 1934

Mrs. Anna Palmer
922 S. Kennilworth Ave., Oak Park, 111.

Millie Williams
116 N. 6th St., Box 795, Livingston, Mont.

Mrs. R. M. Bf.xmxghoff
North Main St., Columbiana, Ohio

Alma Herman
723 E. 8th St., Little Rock, Ark.

Versa Marie Jenks
3800 E. Colfax Ave., Denver, Colo.

Joseph Kocik
3434 Highland Ave., Niagara Falls, N. Y.

Miss Lillian Graham
309 Arcadian Ave., Waukesha. Wis.

Mrs. Gaylord A. Wood
4310 N. Pennsylvania St., Indianapolis, Ind.

Dorothy A. Wilson
4330 W. Beach, Gulfport, Miss.

Garry Richardson
1925 Pine St., Murphysboro, 111.

Mildred L. Murphy
9J4 Mill St., Athens, Ohio

Miss Carol L. Graham
340 Church St., Poughkeepsie, N. Y.

Frances H. Mellor
70 Maplewood Ave., Maplewood, N. J.

Leon Nurnberg
121 S. 25th St., Omaha, Neb.

H. E. Kerr
1102 Shelby St., Seattle, Wash.

David C. Mayfield
1629 Clarkson St., Denver, Colo.

Mrs. Henry Veazey
R. R. 1, Auburn, Ind.

Alice Pearson
5324 Meridian, Los Angeles, Calif.

Yvette Wilcox
240 N. Larchmont Blvd., Los Angeles. Calif.

MOTHER GOOSE a la HOLLYWOOD

Hickory, dickory, dock
Two mice ran up the clock
The clock struck one
"Which one?" Schnoz puns
Hickory, dickory, dock

KGDL

MILDLY MENTHOLATED CIGARETTES-CORK-TIPPED

Ka>i

KGDL

MILD MENTHOL
CORK TIPPED

BRIDGE CARDS
.FREE

Three good reasons KOOLS
■will become your favorite ciga-
rette: They're mildly menthol-
ated— your throat stays cool no
matter how often you light up.
They're cork-tipped; won't stick
to lips. And each package carries
a FREE coupon — 85 bring a
bridge set (2 decks) of initialed
Congress Quality U. S. Playing

Cards other premiums. (Offer

good in U.S.A. only).

CELLOPHANE WRAPPED

Brown & Williamson Tobacco Corp.,
Louisville, Ky.

CORK-TIPPED...! 5* /br TWENTY

Look Out, Jack, for "Ma"!

CONTINUED FROM PAGE 45 ]

You gotta get attention in this game, you
know. So try to understand."

"Tsk," was all Ma said as she peered behind
the couch in Jack's dressing-room and ex-
tracted three socks unmated, an old sweater
and some other miscellany.

" *Y"OU see," Jack went on, "a fella's got to

*■ live up to his reputation. So don't think
it funny no matter what I do. I mean they
expect it — see. It's all a part of the game.
There's always someone around to pick up that
stuff and it's good publicity.

" You gotta do it if you want to get ahead.
I don't want you to be embarrassed, or any-
thing, Ma. Course I know you won't under-
stand about the publicity angle or — "

" What's that bicycle doing out there? " Ma
interrupted.

"Oh, belongs to one of the messenger boys,
I guess. I — " At the look of interest on her
face, Jack stopped. And stared. "Ma, listen,
you ain't — "

"My, it looks like such a nice bicycle. I
haven't ridden a bicycle for years. I was just
thinking, Jack, I'll bet I could ride it clear
around this parkway three times without fall-
ing off more than twice."

"Ma, you wouldn't."

But Ma was off. Zip. Around the bend she
tore while Four Marxes coming unexpectedly
around the corner, took to the fire escapes.
"Yoo hoo, Jack, look," she called at the first
lap, "I'm still on."

At the sound of the revelry (and did Ma put
it on!) there was a sudden opening of dressing-
room doors. Heads, famous heads, were thrust
out.

At the second lap there were cheers from the
grandstand. Ma was going over big.

"Let go the handle bars," the Marx Brothers
urged from the various fire escapes. Bing
Crosby and Gary Cooper leaned from their
dressing-room windows.

"Give her more rope, Ma," Gary called.

At the third lap there was wild acclaim.
" Shucks, I could do better if I had more room,"
Ma boasted.

"Say, there's a swell place on the back lot,"
someone suggested, and that was enough. Ma,
the bicycle and the former Oakie audience
were off for the back lot while, on his dressing-
room steps, alone and forsaken, sat Mrs.
Offield's little boy, Jack.

"Gee," he muttered to himself, "Gee, does
Ma 'ketch on.' "

He was right. Ma's famous ride made seven-
teen movie columns and twenty-two headlines
in three days.

A %'ivacious, bright-eyed little person is this
mother of Jack's, with a never-to-be-downed
spirit that catches and spreads to everyone
about her. Exactly as a lighted match to a dry
forest. And with the same devastating result.
She's sure fire.

She spends hours pouring over her scrap
book into which every line, every word that has
ever been written about Jack, is pasted. But
right alongside of it, and don't you forget it, is
her own publicity. And she's had plenty of it
in her amazing life.

The daughter of a minister back in Sedalia,
Mo., and the wife of a prominent banker, Ma
was a pioneer in this business of getting out of
a home and doing things. There never has
been any mustiness in the front parlor of her
life.

The "Offield School of Expression" was
famous in those parts. And those plays that
Ma put on and directed! Dear me. Were they
something? When her husband died and
things went kind of wrong for this little woman,
nothing daunted, she came on to Xew York
with two children and seven dollars. And got
a job teaching philosophy at Columbia Univer-
sity. Made good, too.

She's written several books of philosophy
and some mighty good poetry and can wise-
crack Jack out of his suspenders. She knows
practically all the answers and it's no use. You
can't keep her down. And now that she's
launched herself on a movie career — look out.
One small bit in "Too Much Harmony," and
look where Ma is today. All over the place, as
a matter of fact.

"AND I'll just bet," she said, "there isn't
■**-another movie actress in the business that
has her own fan following before she even be-
gins her career. Look at these. Dozens and
dozens of letters from girls all over the country
who have been my pupils. Now, show me
another beginner with a following like that.
Just show me."

She phoned Jack at home one evening from
the studio. "I'll be late, honey," she said.

"Thought you finished your part this after-
noon," Jack said.

"Oh, I did, son. But there was such a nice
little girl here from one of the magazines want-
ing an interview with you, and two of the
nicest gentlemen reporters from the papers

wanting material. So, knowing you must be
awfully tired and all, I told them not to bother
you, son. I'd take the interviews, if they
didn't mind. So I'm getting interviewed now."

There was a gurgling sound at the other end
of the phone.

"And oh, Jackie, wait. You'd better just go
ahead and eat dinner without me."

"Why, Ma. Where you going?"

"Well, I just thought I'd run over to the
Brown Derby tonight and let myself be seen
with the other stars. And I suppose I'll be
signing autographs 'till all hours of the night,
so you better not wait up for me."

There was the sound of a falling body on the
other end of the wire.

AT the gala premiere of "Too Much Har-
■*»-mony," there was Ma. Dressed to kill, and
bowing from left to right. "Look, look," the
fans said, nudging one another. "There's Mrs.
Oakie. Yoo hoo, Mrs. Oakie, could we have
your autograph?" And Jack held Ma's purse
while Ma signed. And this, mind you, on one
small bit in one picture. Heaven help Garbo if
Ma ever gets going. You just can't down Ev.
What it takes, Ev's got.

"You know," she confided to Jack when the
picture was about to be released, "I'd love to
see how I'm going over in the big cities."

" Great," roared Jack, "you're practically on
your way." And hurried right out to buy Ma
a ticket to New York.

Now, he thought, I can get a little publicity
for myself. A little for myself wouldn't be so
bad for a change.

Next day the headlines screamed the story,
"Mrs. Oakie brings her own rocking chair to
New York." Pages, columns, were written
about Ma's chair. If she'd thought up a
giraffe or a pet tiger, she couldn't have done
better. And Ma sat blithely on in New York
in her rocking chair being interviewed and
photographed. And she rocked right on to
Washington. Gathering the spotlight as a
farmer gathers in the sheaves.

While out in Hollywood a rather droopy
young play boy sat forlornly on his dressing-
room steps and thought. He didn't want to
play anymore. Everyone was too busy watch-
ing Ma to notice.

There's one thing he knew. His Ma had
given him a spanking. She'd stolen the
thunder right out from under his nose.

And even he had to grin about it.

She's that cute.

Do Screen Stars Act Like Human Beings?

Although Dix is the biggest eater, it doesn't
follow that he pays the largest checks. For
instance, one afternoon, Joe says, young Junior
Laemmle came in with Eph Asher and Director
Charles Rogers for lunch.

"Bring us a little caviar, Joe," Junior in-
structed. "The doctor said I should eat
caviar today."

Joe did. At the Roosevelt, caviar is served
at $2.50 a portion, but when Joe brought the
portion, Junior told him to leave the box. Be-
tween the three of them they ate all the caviar
it contained.

Consequently, Joe tendered a check for $38.

"What, Joe — I'm not going to pay $38 for
lunch here, am I? " Junior wanted to know.

"Not if you don't want to, Mr. Laemmle,"
countered Joe. "But that's what you ate."

[ CONTINUED FROM PAGE 39]

The gentleman who craves the most serv-
ice, declares Joe, is David O. Selznick. Also
he's the most liberal tipper to pay for it — but
he wants what he wants when he wants it,
and that's quick. He eats as fast as he talks,
and just as soon as he is through, Joe knows
he can lead another party to the table, be-
cause he will be leaving right on the dot.

Bill Powell and Carole Lombard, Joe says,
in their days as a family team, ate full course
dinners holding hands under the table. They
still go places together. They like boneless
roast squabs stuffed with apples and pears,
finished off with plenty of Camembert cheese.
Maurice Chevalier comes in with his eternal
secretary, Max Ruppa, and spends quite a lot
of money on his dinner, but exhibits something
of the French thrift under the plate. Marlene

Dietrich drops in occasionally for a cup of
coffee — nothing more.

Ruth Chatterton, Joe says, is one of the
most gracious ladies he has ever met. Her
broad "A" resounds throughout the room, but
once, when a couple from out of town desired
to be introduced, she not only acknowledged
the introduction but invited them over to her
table and insisted upon paying the check— or
her husband (at that time Ralph Forbes) did.

Walter Huston always calls up before he
comes and tells Joe how many there will be in
his party. "Whatever you fix will be fine,
Joe," he says. But Walter likes best English
mutton chops, veal kidneys with mushrooms,
cole slaw and fresh asparagus. His favorite
dessert is baked Alaska.

But the Blossom Room really brightens up

Photoplay Magazine for January, 1934

to its very brightest when the Eddie Cantors
stroll in.

".Mr. Cantor always comes with Mrs. Cantor
and his five daughters," says Joe, "and quite
often he has a pal or two. from Tin Pan Alley
with him, too. 'Fix us up a nice dinner, Joe,'
he says, '<7 la carte' — he really means table
d'hSte, you know. We never give him a check,
because he never carries any money. We
always sign his name, tip the waiter the
amount he desires, and then send the whole
bill to him at his house. He says he doesn't
want to have a good dinner spoiled by seeing
what it costs."

Another father who takes the family out in
a big way is John Holes. John comes to the
Blossom Room with Mrs. Boles and his little
girl, and his entire evening is spent seeing that
his young daughter has a good time. It's
"honey" this and "honey" that as long as the
evening lasts, according to Joe, and John pays
in cash. Doing an exact about-face to Eddie
Cantor, he abhors bills.

"Charlie Chaplin comes in here frequently
with Paulette Goddard," Joe remarked, "and
he is the easiest of our patrons to please. Un-
like so many of the others, he does not like to
be in the limelight. He doesn't want a table
on the dance floor, but prefers to retire to some
dark corner. His favorite dish is Chinese
chicken with noodles — and if we haven't any
on the menu, I run around to the Chinese
restaurant nearby, get some, and warm it up
for him. Miss Goddard often prefers an
avocado salad, but both of them are always
charming and very simple to please."

Another salad hound is Lilyan Tashman,
who generally arrives at about noon with a
lady friend or two — never with hubby Ed-
mund Lowe. And, although she is generally
conceded to be the "best dressed woman in
Hollywood," Joe has never seen her in any-
thing but very simple, though most becoming,
gowns. But she eats enough salad to stock a
garden.

JOAN CRAWFORD and Franchot Tone often
J come to dinner together. Joan likes white
chicken meat and salad with a dressing made
of olive oil and lemon juice. In the early days,
Joe remembers, Joan used to eat anything and
everything, but that's all changed now that
she rides a bicycle and thinks of her figure.

Joan dotes on children. If she happens to
see one at any other table in the room, she
gets up and goes over for a visit. And the chil-
dren always like her.

Greta Garbo used to come frequently to the
Roosevelt for lunch, in the summer when the
roof-garden was open.

"All she wants," says Joe, "is just to be left
alone. I seat her in a corner and take her
order myself. She is always reserved and
dignified, but never high-hat; and she treats
those who wait on her like gentlefolk. Nat-
urally, she is stared at a great deal, but she
ignores these curious eyes — quite unlike Charlie
Farrell, who will smile back, or like Eric Von
Stroheim, who will often stand up and acknowl-
edge the stare with a stiff, military bow."

Jack Warner, the producer, is the exact op-
posite. He'll greet everybody in sight as
"pal," meanwhile eating cheese strudel.

Ernst Lubitsch, the director whose light,
whimsical touch has made his naughty-naugh-
ties so delightful, also is everybody's friend.
He greets bus boys and waiters as well as Joe
with a handshake — and eats his beloved Ger-
man reinbralen with the other hand.

Mary Brian always comes in with a coterie
of boy friends — different ones each time. She
dislikes any fuss or special attention, and se-
lects at random from anything on the menu.

Another great favorite with Joe Mann and
his waiters is little Helen Twelvetrees. She is
always sweet and charming. She relies largely
upon Joe to select a meal for her.

So if you want to know who is Hollywood's
greatest hostess, who possesses the friendliest
spirit among all the tinsel and glitter, who is
the most dignified peisonage at table, Joe will
tell you without even stumbling over a syllable.

"nWied tocUi

what thev

500 PEOPLE SHOW
HOW TO END COLDS
IN HALF THE TIME

Average cold lasted 5 dm?"
Pepsodent Antiseptic cut t'
time in half. New ry^
for avoiding co/

W A

Recently an intereij
brought to light nejj
Scientists found that
gle and to spray w&j
as to how many e<
makes a difference

These scientists
and observed them-
Here are some of t
covered .

A cold will last fi
Pepsodent Antisept
of a cold is cut to
from a cold were

Many of the gr<
Antiseptic had no

WHEN FIGHTING COLDS

Pepsodent is 3 times more powerful than other leading
mouth antiseptics. Hence it gives you much greater
protection — gives you 3 times more for your money.

TN one of the largest tests of its kind

ever made Pepsodent Antiseptic proves
itself impressively. This proof lies in re-
sults that everyone can understand. Read
carefully for these facts are vitally im-
portant to your family's health.

Practical yet scientific proof

Last winter 500 people were divided
into groups. Some fought colds by
gargling with plain salt and water —
some with leading mouth antiseptics
— one group used only Pepsodent.

Those who used Pepsodent had 50 fo
fewer colds than any other group.

What's more, those using Pepsodent
Antiseptic, who did catch cold, got rid
of their colds in half the time.

Think of that! Fewer colds — colds
ended in half time. That is what modern
science offers you in Pepsodent as com-
pared with ordinary antiseptics.

For your information

You may not know that, when mixed
with an equal amount of water, many
leading mouth antiseptics cannot kill
germs. But Pepsodent Antiseptic does
kill germs in less than 10 seconds — even
when mixed with two parts of water.
That's why Pepsodent goes 3 times as
far — gives you 3 times as much for your
money — makes $1 do the work of $3.
Don't gamble with ineffective antisep-
tics. Be safe. Use Pepsodent
Antiseptic — and save money.

PEPSODENT ANTISEPTIC

Katharine Hepburn's Inferiority Complex

CONTINUED FROM PAGE 53

not good-looking enough. Besides, I don't be-
lieve I can act. I'd be scared to death, up in
front of all those people! Anyhow, I don't
think my voice is strong enough."

Instead, her parents more or less left her to
her own devices.

If she wanted to play theater, as a child, her
mother let her ransack the trunks in the attic,
for a suitable costume.

If she decided to turn her bedroom into a
stage set for the day, nobody scolded her for
pulling the furniture around. (But she knew
she must put it back before bedtime!)

Let her sing and holler — it's good for her
lungs! Let her run, and jump and climb and
"skin-the-cat" — it makes her strong and
husky.

Of course she can "chin" herself as many
times as the boy next door — why not?

Katie has muscles strong as steel. Let her
ride on her pony 'cross country — she'll learn to
stick on.

Let her skate, learn to shoot, play ball with
the boys.

" CHE grew up and developed free from in-

^hibitions in her emotional life and with al-
most immeasurable vision and imagination,"
Mr. Fielding commented. " In childhood, the
fear of doing something contrary to the wishes
of papa or mama, and thus inviting reprimand,
was quite an unknown experience for her. As
a consequence, she was able to meet life with-
out fearing to displease and unafraid of doing
the thing that is not 'proper.' "

This, then, explains the unusual conduct of
this new star, the conduct which made even
cynical, gay Hollywood sit up and lake notice.

When Katie sat on a curb on the studio
lot and calmly read her mail, the cynics
nodded and shouted, "publicity seeker."

When Katie refused to arrange her hair in
the conventional mode, when she preferred to
wear denim overalls and a sweat-shirt, again
she was branded, "publicity hound."

The opinion never phased her. She ignored
it.

"The so-called goofy tactics she resorts to,"
Mr. Fielding explained, "are simply another
evidence of her resourcefulness, her freedom
and lack of fear. They retlect, too, her early
training. Her mother never made her self-con-
scious by telling her she looked silly, or scolding
her with the phrase, 'Nice little girls don't act
that way!'"

k^^*l ^mm

f~"- 1 ^

^k- '

f I

^^r^

fe£ fl

-A'

•

*'^B

I p

She had never been in a movie then !
But after the students at Bryn Mawr
presented "The Lady of the Moon,"
Hepburn, as Pandora, posed while a
classmate took this picture of Katie

No, Katharine Hepburn certainly isn't self-
conscious. Consequently she always feels
adequate, or "up to" a situation. Take for ex-

ample, the incident at the opening of her latest
picture, "Little Women."

They previewed this picture in a tiny theater
in Santa Ana. After it had been running about
five minutes, the film broke. Several more
minutes elapsed. The operators were unable
to fix it properly. The audience was getting
impatient. Suddenly Katharine Hepburn
jumped on the stage, unsolicited, wearing her
slacks and sweater.

She put on an impromptu "personal appear-
ance" show which so thoroughly engaged the
attention of the audience that they forgot
about the broken film. While they saw no
picture that night, they left the theater satis-
fied and pleased because Hepburn herself had
entertained them with gay, informal chatter.

If she had been frightened or uncertain, her
impromptu entertainment might have been a
flop. No evidence of an inferiority complex
there !

"Many people would say," we commented
to Mr. Fielding, "that Hepburn traded in her
inferiority complex for a superiority complex!"

'""THERE is no such thing," he answered.

-*- "People are either normal or inferior.
People whom we call 'conceited' or believe to
have a feeling of superiority are usually strug-
gling with an inferiority complex. They are
trying to innate their ego and make everybody
see how smart they are, or how intelligent they
are or how strong they are. They don't be-
lieve it themselves, but they feel they must
try to impress others.

"No, I should say that Hepburn now has a
very healthy, normal viewpoint. Her path
is not cluttered up with foolish fears and in-
hibitions. There are no obstacles, for she
refuses to recognize them. She cannot con-
ceive of wanting to do something that cannot
be done. And when she wants to do a thing,
it must be done quickly, without delay."

His comment brought to mind the incident
when Hepburn suddenly turned on her heel
one day after finishing "Morning Glory,"
waved goodbye to friends on the lot and was
off like a flash in a high-powered airplane for
New York. Dressed in overalls, no baggage,
no encumbrances. She wanted to go, so she
went. There was no fear of being unable to
travel without cosmetics, without extra
clothes.

She is free as a bird to do as she wishes
when the impulse strikes her.

And Now Taps Sound for Tex!

CONTINUED FROM PACE 40

do it. No one knew then that Von Stroheim
would climb to the enviable heights of direc-
torial stardom. None but Tex Guinan whose
faith in his talent never faltered.

JOE FRISCO, who stuttered his way to fame
with the aid of a long, black cigar on which he
chewed feverishly, was one of Tex Guinan's
proteges. She saw Joe smoking nervously one
evening at a corner table over a twenty-five
cent bowl of goulash and a nickel cup of coffee.
Tex burst out laughing — he looked so funny.
Frisco told her his troubles.
"Always look like that, honey — you're a
scream when you're worried," she advised
him. It was those few wise words which
carried Frisco to the heights, even to pictures
when talkies first came in. A grand comedian
whom Tex saw as a living caricature.

Tex told me, only a few months ago, about
Ruby Keeler's first job in her big night club
when Tex had prospered plenty and all society
bargained for ringside seats.

"A swell little kid," Tex described her,
"scared to death of Broadway. She thought
the big bad wolf was hiding somewhere ready
to eat her. Then along came Jolson and took
her right out of circulation."

Ruby Keeler learned the intricacies of tap
dancing at Guinan's club. She was almost an
amateur at it when Tex took her on. But those
twinkling feet became a main attraction, as,
night after night, Ruby stepped out and went
into her routine. That little girl always got a
great big hand and Tex Guinan, perched high
on her stool, barking raucously at her Park
Avenue patrons, never had to beg them to
pound on the tables. A din of applause always

followed Ruby's appearance. It was from here
Ruby went on the Broadway stage and about
the same time became the bride of Al Jolson.

And Stanwyck. Insisting on getting a break.
And seeing Tex Guinan about it personally.

" She didn't have to look coy and sweet,"
Tex confided to me one afternoon in her little
Eighth Street apartment. "That Stanwyck
girl always knew what she wanted and how to
get it. She's got a good head on her shoulders,
a good clear head that she uses for more than
a hat rack."

SO Tex — the maker of Hollywood stars —
passes on. And with her passing, myriad
memories of other days are stirred, those early
struggles for the first chance which every
picture star in Hollywood today has had to go
through. Goodbye, Tex. And a happy journey.

100

Photoplay Magazine for January, 1934

IOI

The Amazing Story

Behind Garbo's

Choice of Gilbert

[ CONTINUED FROM l'AGE 33 ]

role to him willingly. And today, looking back
on this strange twist of events, I have no
bitterness in my heart. Only a great respect
for Gilbert's accomplishment and a decided
realization that there must be spiritual har-
mony between screen lovers if their scenes are
to be truly convincing."

Laurence Olivier was too modest to go on
from there with his story. But it is known that
Metro called him into their executive offices
and offered him any other role in any other
picture he cared to play. They had no fault
to find with his acting. Olivier's is a polished
technique, perfected through years of stage
training and inherited from a long line of
histrionic ancestors. His first love has always
been the stage. Jed Harris wired, offering him
a star role in "The Green Bay Tree," on
Broadway. Olivier decided to accept it.

Olivier is making a tremendous hit in the
play, starring opposite his wife, Jill Esmond.
Jill's been in pictures, too. Remember her as
the society girl in "Is My Face Red?" with
Ric Cortez? A lovely English voice and
exquisite poise and not at all short on good
looks. Perhaps that's why Olivier's work in
the play is so convincing — he's inspired by
his own wife's beauty and charm.

And as this is being written I understand
John Gilbert has done so well for himself in
"Queen Christina" that he is being talked of
as possible star in the new musical version of
"The Merry Widow."

Maurice Chevalier was signed for this role
before he left for his vacation in France. And
Maurice is considerably worried that he, too,
may be replaced by John Gilbert as was
Laurence Olivier. Just what Gilbert's future
in talking pictures will be from now on will be
an interesting speculation. The strange twist
fate gave him when he thought he was really
through.

He's made many an Englishman
laugh! And now Nigel Bruce, British
funnyman, is going to act comical for
Americans. Bruce has signed with
Fox for a role in "I Am Suzanne"

You, too, can have the Beauty
Secret qave Dolores del Rio"

of Hollywood

beauty adviser to famous stage and screen stars

Hear Sylvia in person,
revealing the beauty secrets she gave famous

stage and screen stars NBC Red Network,

Coast to Coast, Tuesdays; 10:50 pm., E. S. T.

Dolores del Rio, exotic bko star of "Flying Down to Rio," noted for her lovely figure

'T'VE solved every kind of a beauty prob-
L lem for the movie stars," says Sylvia.
"That's why I know I can help YOU
make your figure lovelier. With my Per-
sonal Consultation Chart,* which I'll send
you free, you'll receive a 32-page booklet
which contains the same diets and exer-
cises I used on the movie stars. I promise,
if you'll follow both exactly, you can have
a graceful, youthful figure. But remem-
ber— exercise without diet is wasted energy.

Oh no, you won't starve! Dieting Sylvia's
way is no hardship — ifyou remember
one simple thing — eat Ry-Krisp with
every meal — breakfast, lunch and dinner!

'That's the beauty secret I gave Dolores
del Rio — my one rule for everyone. It's
an easy rule to follow, because these
crisp, whole rye wafers taste so good.
More impor-
tant — they're

good for you. Easily digested and regu-
lating, they satisfy hunger safely because
they're filling but not fattening.

'Beauty the Hollywood Way is easy.

Simply send for my Personal Consultation

Chart* and begin to eat Ry-Krisp today."

r * r * *

Ry-Krisp Wafers are popular at every meal
—with everyone. They're delicious and
healthful, too. Simply made of flaked
whole rye, water and salt — double baked
for full flavor and lasting crispness. For
a real treat, try Ry-Krisp lightly buttered,
heated in a moderate oven (350°F.) and
then cooled until full crispness returns.
It's marvelous that way.

Your grocer has Ry-Krisp i n red and white
checkerboard packages. Why not order
some — right now? And save that valuable
package top.*

consultation chart — FREE! use this coupon

Madam Sylvia, Ralston Purina Company,
62 3 Checkerboard Square, Saint Louis, Mo.
I encloseoneboxtop from a package of Ry-Krisp.
Please send me your Consultation Chart. Also your per-
sonally illustrated 32-page booklet of diets and exercises
which will give me the information I need to help me
solve my own beauty problems.
( Offer good only in U.S. A. and Can. )

Name

Address .

Phantom Daddies of the Screen

CONTINUED FROM PAGE 29

"Milton had no special plans for Kenyon."
Doris said. "He was not particularly ambi-
tious for him. All he asked was that he develop
a fine character and become a fine citizen, and
the rest would take care of itself. I have him
in public school — he's in the second grade, too,
at the age of six. He plays with the Barrymore
children and, oh, he's such a manly little
man!"

Some day Kenyon will see the phantom of
his father on the screen and hear his voice.
What will his reaction be? Even Doris
Kenyon would like to know.

T\T a neighborhood theater in Hollywood a
^•year or two ago, a re-issue of an old-time
racing thriller featuring Wally Reid was pro-
jected on the screen. There he was. the
debonair, smiling idol who had been admired
by millions the world over. The audience saw
him clamber into a low-hung car and send it
hurtling around the track, crashing through a
fence at a turn, spinning end for end, defying
death and destruction and winning readily by
the hero's margin, though somewhat worse off
for the wear.

The audience applauded wildly, because
Wally Reid's thrillers were thrillers you couldn't
forget. Each had its punch.

Crumpled low in a theater seat this day was
a lad vainly endeavoring to stifle half-audible
sobs as the picture unreeled.

His hair was sandy colored and mussed
His eyes were blue — a sort of light hazel-blue
and something about his general appearance
seemed familiar,

"Who is he?" a number of persons thought.
" Don't we know him?"

When the "thriller" was finished, a kindly
woman leaned over the boy and asked:

"What's the matter, son? Why are you
crying?"

"That." replied the boy, "that was my
daddy!"

William Wallace Reid was the boy. Billy
Reid, they called him. Billy was slightly more
than five years old when his illustrious father
died in 1923. Once — and only once — has he
run into one of his daddy's pictures unex-
pectedly. Yet he fears or hesitates to approach
a picture theater with a view of buying a
ticket because of the possibility that he may
again suddenly see before him that happy, sun-
shine-radiating idol whom the world acclaimed
— his father, in phantom figure. To this day —
and Billy is sixteen now — he lives in constant
dread, or fear, or anticipation. He doesn't
know which.

T OCKED in a storage vault, Mrs. Dorothy
■'-'Davenport Reid, the widow, has prints of
two pictures that Wally made — "Forever," a
Peter Ibbetson story, and "Across the Conti-
nent," a racing production. Ten years they
have remained there undisturbed. Ten years
more they may be there, undisturbed.

"I haven't had the courage to get them out
and run them," Mrs. Reid explained. "In
' Forever,' Wally enacts the role of a man who
goes mad and dies in prison. It's a terrible
thing to see, and yet one of his masterpieces. I
couldn't watch it again. Not now. Certainly
I couldn't exhibit it to Billy or to Betty, our
adopted daughter.

" Betty is fourteen. She was only three
when Wally passed on. She remembers him
but dimly and has never seen him in motion.
Her only conception of how he looked and
acted will come from 'still' pictures and the
phantom she will see when I get out 'Forever'
and 'Across the Continent.'

"I try to impress upon the minds of the two
children that their father is still near them,
that he is around and about them. I keep the

house vitally alive with his pictures. I have
books and books of them, and Billy and Betty
sometimes go over them for hours together.
Wally took Billy out in a racing car once and
Billy has never forgotten it. To this day he
has the racing 'bug,' and takes the greatest
delight in tinkering with and driving a machine.
He has appeared in one motion picture as a
race driver and loves it."

Billy was cast for the role of Carruthers in
"Tom Brown of Culver," by Universal, but
Mrs. Reid turned thumbs down upon it, be-
cause to her it was not truly a Wallace Reid
characterization.

Strange, it seems that most of the picture
stars are fated to make at least one hard-
boiled production just prior to their death or
departure from films. Take the case of Fred

Little Fred Thomson, Jr., is the son
of Frances Marion, well-known
scenario writer. She says she will
never consent to the child's seeing
his father playing in the role of
the notorious outlaw, Jesse James

Thomson, one of the cleanest and most idolized
of Western stars. Princeton graduate, ex-
ecutive in the Boy Scouts of America, athlete
who participated in the Olympic Games in
Europe, amateur boxer and friend of Gene
Tunney, an ordained minister, chaplain of the
143rd Field Artillery in the World War, Fred
was adored by American youth. When he died
in 1928, he left a son, Fred Thomson, Jr., two
years old, his "little pal." Fifth from the last
picture Fred made was based on the life of
Jesse James, this country's most notorious
outlaw!

Has little Fred, Jr., seen this production?
Not on your life! Frances Marion, famous
scenarist, his mother, has kept him scrupu-
lously from any possibility of his seeing it. The
production was a terrible "flop," and was
retired soon after its initial showing. Fred
Thomson admirers just wouldn't accept him as
a bank looter, train robber and night-rider.
They wanted him "clean," or not at all.

Nevertheless, the menace existed, and there

was no telling when little Fred would unex-
pectedly see his daddy as a cold-blooded, ruth-
less killer. One thing Fred, Jr., does see daily
to remind him of his daddy is a beautiful white
horse, Silver King, which Fred rode in all his
pictures. Silver King is at home, "pensioned,"
of course, for the balance of his life. He will
never again be seen in films, Frances Marion
says.

A NOTHER little "shaver," who for years
■* *has faced the possibility of seeing his only
known parent as a phantom, is Donald Mike
Gallery, who was adopted from an Austin,
Texas, orphanage by Barbara La Marr. Don
knew nothing of his real father and mother
when Barbara, "the too-beautiful girl," espied
him in a crib and pleaded that she be made his
foster-mother. Her own baby had died.

"There's never been one day — not one hour
— since they took my own little boy out of my
arms," she cried, "that I haven't longed for the
feel of a baby against my breast. Lots of
nights I've waked up thinking I heard that
little voice that has been still so long, calling
me. Lots of times, as I opened the door to
come in, I forgot and looked to see his little
face."

The impassioned plea of the glorious Barbara
was heeded and little Don passed into her keep-
ing while he still was in his swaddling clothes.
He was three-and-a-half years old when Miss
La Marr died at Altadena in 1926, and ZaSu
Pitts and Tom Gallery adopted him.

One of the pictures Barbara made, a little
more than a year before her collapse, was "The
Shooting of Dan McGrew," a Metro pro-
duction based on the Robert W. Service poem
of the same name. Barbara never wanted her
little Don to see this picture.

The poem recites a dramatic story of how on
a night of incredible cold, a miner stumbled
into the "Malamute saloon." The stranger
goes to the battered old piano, plays sweet
music upon it, then suddenly stops with a
crash. And —

"I want to state and my words are straight

and I'll bet my poke they're true,
That one of you is a hound of hell . . . and

that one is Dan McGrew.
Then I ducked my head and the lights went

out and two guns blazed in the dark,
And a woman screamed, and the lights

went up and two men lay stiff and stark.
Pitched on his head and pumped full of lead

was Dangerous Dan McGrew,
While the man from the creeks lay clutched

to the breast of the lady that's known as

Lou."

Barbara, of course, was "the lady that's
known as Lou." She was insistent that this
be a chapter from her picture life which should
be kept from Donald. It was too sordid. It
carried a wrong impression of her.

THERE are other children — lots of them —
in the film colony who see either their dead
father or mother moving life-like across the
screen, but most of them have reached the age
of understanding. There's Creighton Chaney,
for example, son of the late Lon Chaney,
greatest of all character actors. One of Creigh-
ton's most prized possessions is a film showing
his father making camp by the side of a stream
away up in the Sierra Madre Mountain range.
He has films showing his father moving happily
about a cabin up there where the fishing was
good. Money couldn't buy these possessions.
Finally there is little ten year old Stratton
Nomis, son of one of the greatest aerial stunt-
ing daredevils that Hollywood ever had. Leo
Nomis was killed in February of 1932 when,

102

Photoplay Magazine for January, 1934

103

engaged in a dog-fight with two other will-
known aviators 1,500 feet up, he put his ship
into a falling leaf for the kick of the picture.

But something went wrong and instead of
coming out of the falling leaf, the ship went
into a tailspin and crashed. The engine buried
itself a full eight feet in the ground.

Little Stratton Nomis could look at that
terrific air battle and truthfully cry out:

"There — that was my daddy!"

The credit, of course, went to the star of the
picture — and audiences applauded him on all
the moving picture screens throughout the
country. But it was Leo Nomis' body that was
taken to a little evergreen plot in one of Holly-
wood's cemeteries.

For that's life — and death — in Hollywood.

Pinch Hitters That
Came Through

[ CONTINUED FROM PAGE 70 ]

The studio, all agog, sent out an SOS for a
substitute.

In Hollywood was a good actor named Ivan
Lebedeff, a cultured Russian. Once upon a
time he had played important roles, but in
recent years his talents had been lost in in-
significant bits.

Would he play the part of Harlow's foreign
lover in her new picture?

He had been waiting for a break like that for
a long, long time!

Lebedeff played the part — and he played it
well. Once again he is in line tor important
roles. But if Asther hadn't walked out — Lebe-
deff's name might have remained hidden and
obscure, listed at the end of casts.

Then there was the time Paramount bent
itself double and all the script writers tore their
hair trying to keep Miriam Hopkins on the set.
The picture was "No Man of Her Own."
Miriam was to co-star with Gable, who was
borrowed from M-G-M for the picture.

Work began, and Miriam complained. First,
the part was too weak, too saccharine. The
script writers wrote and rewrote, trying to
strengthen it. Then Miriam decided she was
being over-shadowed by Gable.

"pINALLY, Miriam went to lunch one day,
*■ and didn't come back. She flew to Palm
Springs. Studio executives phoned and tele-
graphed. They begged, they pleaded, they
threatened.

Then they put Carole Lombard in the role.

Carole scored a big success. The public liked
her teamed with the great screen lover. Carole
had played leads before, but the role that
Miriam high-hatted greatly increased the Lom-
bard lady's screen prestige and was an impor-
tant addition to her list of successes.

"The Way to Love," with Chevalier and
Sylvia Sidney, was well in production, when
Sylvia's throat trouble made it inadvisable for
her to continue working. Europe seemed the
best place to recover — so Sylvia sailed.

The well-known panic was on. Finally dif-
ficulties all around were solved happily by
borrowing Ann Dvorak from Warners to play
the vacated part — and it is the opinion of many
critics that she was better suited to the char-
acter than Miss Sidney.

John Stahl, out at Universal, wanted Irene
Dunne to play the girl in his "Only Yester-
day." He wanted her so badly that absolutely
no one else would do. This great epic was
Stahl's pride and joy. It had been in prepara-
tion for months.

Finally Irene was set for the part — and then
salary trouble set in. The proceedings were de-
layed for so long that it was time for Irene to
make a much-anticipated visit to Xew York to
see her husband, and she refused to put it off.

Things were in a terrible tangle. Ten leading

stop y

Get

1 use :

Wise'

sister-

* a com-
eaTcung ^,,hv

,;Ve mine-
***** the same P*te
not «se the

gettouse*^^ s0

•o">

3 -*he;of her ^cv
she got tid o that

•^Tstory*«skiD

she^othasa
baby's-"

Don't dilly-dally another minute,
if you yearn for a baby-smooth,
baby-clear complexion. These raw
wintry winds can make a girl's face
like sandpaper, if she's not careful.
So start your Ivory beauty treat-
ments today. Ivory won't dry up
the natural oils that keep your
skin silky-smooth.

Ivory, you know, is so pure that
doctors recommend it even for tiny
babies. Surely the soap that is
best for a baby's sensitive skin is
safest for your own complexion.

And . . . stay far, far away from
"beauty soaps" that may hide im-
purities behind fancy perfumes and
lollipop colorings.

And be a baby about your bath,
too! Hot, dry rooms — raw, chilly
winds! These days, your skin all
over needs Ivory's soothing, gentle
care more than ever. Hop into
your odorless Ivory bath. Hop out
feeling smooth all over. And thank
your lucky stars that fine white
Ivory costs you only a few pennies
at any grocer's.

Ivory Soap

9fM*/ioo«>/o pure . It floats

io4

Photoplay Magazine for January, 1934

leashes

WERE MEANT TO BE

X^urlyl

NO HEAT
NO COSMETICS
NO PRACTICING

No one knows why that long, upward
sweep of feminine lashes has always
seemed so enchanting to the masculine
mind — but it's so. And it used to be that
(like curly hair) a girl either was born
with the right kind or else — . Now there's
a gadget: Kurlash. Slip your lashes in,
and press the handles. That's all. Kur-
lash won't break the lashes or hurt them
in any way. In fact, it's used by a great
man}' movie stars. If it isn't at your
favorite department store, drug store or
beauty shop, send $1 with the coupon.
And after you've curled your lashes, you'll
probably want to take other steps too.

Kurlene: keeps your
lashes and brows in con-
dition. 50 cents and $1.

Shadette: gives mys-
tery, depth to the eyes;
four shades, brown, blue,
green, violet. $1.

Lashtint: darkens your
lashes; waterproof. $1.

LashpaC: compact mas-
cara. Three shadej. $1.

Tweezette: to arch
your brows painlessly. $1.

r^urlash

The Kurlash Company, Rochester, New York
Gentlemen: Here's one dollar. Please send Kurlash
and a copy of your booklet, "Fascinating Eyes."
In Canada, Kurlash Company of Canada, Toronto.

Name-

^Street-

Slate-

young actresses were tested for the part.
Finally, in desperation, Stahl went to New
\ ork. There he saw an unknown actress play-
ing a small part in the current Broadway suc-
cess "Dinner at Eight."

Those "in the know" say Margaret Sullavan
has had the most magnificent chance at star-
dom in the history of Hollywood handed to her
on a silver platter.

She is something fresh and new and entirely
herself — with a great picture and an un-
paralleled opportunity to prove it.

But if Irene Dunne had not been a unique
Hollywood wife, who preferred going to New
York to see her husband to staying in Holly-
wood and playing the sort of a part every
actress prays for — would anyone have heard of
Margaret Sullavan?

CALLY FILERS made her debut on the Fox
kw,lot, replacing Virginia Cherrill in a George
O'Brien Western. Virginia sprained her ankle
— Sally was more or less retired from the screen
then and spending most of her time out on
Hoot Gibson's ranch. But she could ride a

horse — and somebody mentioned her as a
candidate for the part.

It didn't seem very important at the time
but it led directly to Sally's great opportunity
in "Bad Girl," on the same lot.

AND now, what has Sally done but turned
down "Jimmy and Sally" which was
written for herself and Jimmy Dunn!

Ee-magine! With that title all set and every-
thing! She is newly married to Harry Joe
Brown and doesn't care about being " teamed "
with any other man — even in a picture. And
anyway, she didn't like the story.

So a lady who has been languishing in West-
erns— even as Sally was herself, before her big
chance — gets the lead opposite Jimmy. Her
name is Claire Trevor, and she is one of the
loveliest blondes in pictures.

Will this part lead to a "Bad Girl" for
Claire?

They'll tell you in Hollywood it's all in the
"breaks" you get. But often as not, it's in the
breaks and sprains, tonsils and temperaments
somebody else gets, too!

Merry Ex- Wives of Hollywood

CONTINUED FROM PAGE 51

than I can — " Carole broke down and
sobbed.

"Haven't you hid yet?" Mary Carlisle
called from under the davenport.

A quiet, dignified little blonde arose from
her seat in the corner.

"It's Mary Pickford," the whispers ran.

"Who iss Mary Pickford?" asked Dietrich,
fingering her necktie.

"Listen," hissed Polly Moran, "if you
weren't so darned shorts conscious, you'd
know."

"f^IRLS," said Mary simply, "you all know
^--*of my recent grief, so I'll say just this.
Never marry a leaper. They leap from chande-
lier to chandelier. From continent to con-
tinent. They even ride bareback on carpets.
So please "

She couldn't go on.

Crawford, in her Adrian special number 123,
arose and look around pleadingly.

" Dodo and I were like two children at first,"
she said, giving it a little of scene four from
"Possessed."

"But, girls, I warn you, Douglas, as I had to
call him when he grew up, won't remain a
child. He'll go artistic on you. He'll want
to paint. He'll want to sculpt. He'll want to
wade knee-deep in Nietzsche. He'll want to
write. And even will. He'll want to act "

"And will, all over the place," interrupted
Bennett.

"He'll yearn to write poetry. And give
imitations."

"God forbid," moaned the girls, while Joan
went on:

"So, I went from 'hey, nonny, nonny' to
the poet's corner in six short months. With
gardenias, of course. But my soul is
crushed. Our souls are no longer kindred. He
went his way and I went to the Cocoanut
Grove with Franchot Tone."

"What did you wear?" the eager audience
thundered.

"It was a little blue number I had my de-
signer send out. It had the new Mae West
shoulderline in "

"Who iss Mae West?" hissed Dietrich.

The company ignored her.

"Well, guh-irls," wavered ZaSu Pitts, lifting
her prostrate hands and turning her large, sad

eyes on the gathering, "wellll 1 oh,

dear " in a flurry of embarrassment she

started slowly back to her chair.

"Oh, ZaSu!" the girls objected. "Come
on!"

ZaSu began again, "Well, Tom and I — er,

Tom Gallery his name was — and still is, I
guess — Well, Tom and I were very happy —
but I want to warn you girls that Tom al-
ways wants to go to prize-fights.

"I used to say to Tom, I'd say, 'Tom, why
do you always have to go tearing out to prize-
fights? Why couldn't we have a nice private
prize-fight here at home?' But no," ZaSu
sighed, "he always wanted to see two com-
plete stranger^ punch each other in the — well,
punch each other. He wouldn't pick a prize-
fight at home, and I — well, that's his only
fault girls — "

And, lifting her hands in a futile little
gesture, ZaSu sank into her chair.

Sally Eilers stepped to the front of the room.
"I'm here to say this. Hoot Gibson is a
square shooter."

"Ride 'em, cowboy," chorused the girls.

"Oh, are we playing cowboy and Indian?"
came from little Carlisle under the davenport.

"But the trouble was," continued Sally,
"I wanted to throw parties, and Hoot wanted
to throw bulls. So girls, I warn you, you'll
ride horseback when you want to ride in a
limousine. Why, it got so, every time I
started an emotional scene in a picture with
Jimmie Dunn, I broke into a canter. I grew
canter-minded. I even cantered when the
horse trotted. I — " Sally wept and dropped
into her saddle.

THERE was a sudden commotion in the
doorway. Gracie Allen, breathless and
flurried, rode in on her bicycle.

"Oh, girls, I'm late but I got into the wrong
meeting. And, mind you, I never knew it for
hours. Isn't that silly? I mean I kept telling
them all about George's funny little habits.
They liked the one about George riding up
and down in elevators when there are no
elevators," Gracie giggled. "I told that one
about twenty times. Even in our living-room,
I mean, George keeps going up in elevators all
evening. He says he does it to keep from
mayhem.

"And the funny part of it is there's never
been anyone in our family called Mayhem.
He only imagines it. It's silly, don't you
think so?"

"Yes, we think so, Gracie," they said.
"But what meeting was it?"

" Well, after two hours they came and patted
me on the head and said they were convinced
I was in the right place, only George should be
there instead of me. Sillies. They said they
were The Society for the Prevention of
Cruelty to Animals."

Photoplay Magazine i-or January, 1934

"Wait," Bennett peered intently down the
boulevard. "Girls," she screamed, "here
comes Gary Cooper."

There was a mad dash for the door. Three
stars were trampled unconscious in the rush
as the entire meeting tore down the boulevard
after Gary. Screaming and yelling, "Yoo
hoo, Gary, wait for us."

"Gee, are we playing 'Run, sheep, run'?''
came from little Mary Carlisle under the
davenport. But no one answered. The pack
was in full chase.

A Pair of
Wuppermanns

[ CONTINUED FROM PAGE 54 ]

So he found his way back to New York and,
having nothing to do, began to look for a job
on the stage. After all, wasn't Ralph on the
stage?

And finding the job, he too — in order not to
disgrace the name of Wuppermann — called
himself Morgan.

Frank's pride smarted now when the intro-
ductions at the Lambs Club continued to be,
"I want you to meet Ralph Morgan's brother."
He would add crossly, "The name is Frank, if
you please." But nobody paid much atten-
tion.

Then, before long, Frank went to Holly-
wood to make a name for himself.

For awhile, everything was all right. Frank
was Frank in Hollywood. He wasn't any-
body's brother. And Ralph continued to be
an important identity with a name of his
own on Broadway.

And everything would have continued
smoothly — without any confusion or em-
barrassing mix-ups — if Ralph had stayed in
New York. But his stage reputation made
him highly desirable to movie producers, and
eventually he, too, answered the call of the
screen. When Ralph got to Hollywood, the
Morgan trouble began.

PRYSTK was called Ralph, and Ralph was
*- called Frank and the confusion was, and still
is, exceedingly disconcerting. It is possible
that the younger Wuppermann even yearned
for the good old days when he was definitely in-
troduced and recognized as "Ralph's brother."
At least, people knew he wasn't Ralph!

Take, for example, the day Frank met a
Fox studio executive at Agua Caliente.
Frank's contract is with M-G-M; Ralph is with
Fox. But when Frank went back to his table,
the Fox executive said to his companion:

"What is his name?"

"Frank Morgan," was the answer.

"Oh yes, of course, he's working with us."
the executive dismissed the matter — and
probably ever after had the two actors con-
fused.

Recently a picture of Claudia Morgan and
her father, Ralph Morgan, appeared in a
magazine. But caption beneath the picture
read, "Frank Morgan and Daughter." Frank
has a seventeen-year-old son. No daughter.

Another magazine — referring to the lawyer
in "The Kiss Before the Mirror" — called
him Ralph Morgan. But he was Frank!

More recently still, the following paragraph
was printed in the "low-down" column of a
film paper: "Brotherly love moved Ralph
Morgan to call this here newspaper yesterday
and tell us that it was he, and not frere Frank,
who did the acting in 'Walls of Gold.' We
were already chagrined by the mistake in the
review of the film, in mentioning the wrong
Morgan as having appeared in it. Or is there
a wrong Morgan? We don't think so!"

Incidentally, it was probably not the fact
that Ralph felt himself being slighted which
prompted him to telephone that paper and
make the correction. More than likely he

ATOMS

SUBTLE FRAGRANCE

Now that all leading perfumers are strongly urging that
perfume be sprayed, daubing is fast becoming one of those
things that just isn't done . . . With a DeVilbiss Atomizer,
a single drop of perfume is transformed into 2000 fragrant
atoms, giving a more subtle, diffused scent . . . And no
longer need you worry about stain — atomization prevents
any injury to dainty fabric . . . The new DeVilbiss closure
device guards against evaporation, so that the fragrance of
your costly perfume is not wasted on boudoir air . . . The
DeVilbiss Atomizer so attractively pictured above is priced
at $3.50 . . . Others start at $1; atomizers with closure
device, at $3.50 . . . The DeVilbiss Company, Toledo, Ohio.

DeVilbiss

io6

Photoplay Magazine for January, 1934

The

SHERRY-NETHERLAM)

Charming Suites By-the-Day

You may enjoy, even on short New York visits, the conve-
nience and refreshing luxury of a Sherry-Netherland suite.
And your address . . . the smartest square in New York.

FIFTH AVENUE AT 50TH STREET . ON CENTRAL PARIv • NEW YORK

SKIN RESTORED TO LOVELINESS

thanks to >*#& "hk^ Dr. Edwards

IF you want cheeks like
velvet, a lovely skin and
happy, sparkling eyes, try
Dr. Edwards Olive Tab-
lets. So mild, yet so sure,
thousands call them "the in-
ternal cosmetic." A wonder-
ful substitute for calomel and a
lot safer. Used for lo years by peo-
ple who want relief from blemishes
and pimples— nothing better for livi
trouble and constipation.

Beauty comes from within

Any doctor will tell you a syste

x^t

111

clogged by poisons
{torn the intestines is
the greatest threat to
beauty. That is why
Dr. Edwards made this
rare compound of vege-
table ingredients origi-
nally prepared for his own
patients. For just one week,
try this treatment, take Dr.
Edwards Olive Tablets before going
to bed, and see how much more alive
you feel, how your mirror flatters you.
Get a package from your druggist or
drug department, 15^, 30^, 6ofi.

:o: :♦:

:<►: :«

:♦: :o:

»:
:o:
«
»:
■#.
3

e.
0:
o:
s>:
0:

A CHRISTMAS GIFT

That Will Be Appreciated-
Throughout the Year

A subscription to PHOTOPLAY!

TURN TO PAGE 16

;«:«:o::o::<>::«:o::o::«:<>::<5^

sensed what brother Frank's reaction would
be at having his name linked with a second-
rate picture.

For, oddly and ironically, in Hollywood the
tables have been turned for the Wuppermann
boys. Frank, who played small bits on the
stage while his brother was matinee idol of
Broadway, has been getting the fat, juicy
roles on the screen And Ralph, the stage
success, has had many ineffectual and rather
unimportant parts.

Frank, you will remember, was handed one
conspicuously plump role after another:
With Lupe Velez in "The Half-Naked Truth."
With Alice Brady in "Broadway to Holly-
wood." With Jean Harlow in "The Blonde
Bombshell." The role of the philandering
publisher, with Ann Harding and Myrna
Loy in "When Ladies Meet."

/"^N the other hand, Ralph's parts have not
^'been strong — even when the film was im-
portant. Take, for example, the sad-faced in-
effectual L'zar in "Rasputin and the Empress,"
and the pathetic Uncle Charlie in "Strange
Interlude." Fortunately, Ralph's Hollywood
breaks are getting better — with his stronger
roles in "The Rower and the Glory" and
"7 Lives Were Changed."

But what are the two brothers' attitudes
toward their movie careers and the con-
fusing mix-ups which have embarrassed them
since Ralph's arrival in Hollywood?

Not so long ago it was rumored that Frank
asked a writer not to mention Ralph in the
same story with him. He intimated that
there was so much confusion already about
their identity, that linking their names to-
gether would just mess matters up a little
more.

When Ralph suggested that the best way
to combat the "mistaken identity" difficulty
was for both of them to appear in the same
picture sometime, Frank was silent. Again,
when the brothers were advised to hire the
same agent to handle their business affairs,
Frank was not interested.

People who know the men well do not
confuse them.

For one thing, they move in very different
social groups. The Frank Morgans go with a
gayer crowd. The Ralph Morgans have made
their Hollywood friendships among more quiet
people.

But while scandal-mongers might like to
establish a rift between the families and say
the two brothers are not compatible, it is
probably pure gossip.

For Frank still remembers that it was his
older brother who bore the brunt of family
wrath and paved the way for his entrance into
the theater.

And Ralph is too sincere an artist, too secure
in his Broadway reputation, to be jealous of
his brother who, so far, has picked up fatter
movie plums.

TF you ask their sister, Mrs. Langdon, what
*-she thinks, she will champion Ralph.

" Frank may be the showier actor," she says.
"I believe there's no doubt about that. He
was gifted by the gods with a natural versa-
tility.

"Perhaps Ralph, though, in his quieter, more
thoughtful way, gives greater study to each
role he plays.

" I always remember what one of his dramatic
professors said to me: 'Ralph studies his roles
more thoroughly and plays them more per-
fectly then any student I've ever had. He
puts all of himself into every gesture, into every
word. Consequently, his interpretations have
delicate nuances and surprising expressions
that are never to be found in the playing of an
actor who might be a more natural showman.'
That's the difference I believe, between
Ralph's and Frank's work. But each is
splendid in his own way.

"And," she added, "I think it would be
very difficult for a critic to say which is the
better actor."

Photoplay Magazine for January, 1934

107

Twenty Years After

[ CONTINUED FROM PAGE 30 '

told B. P. Schulberg, the producer, that. "I
want to be Fredric March," I said.

"B.P." sneaked a puzzled glance at the con-
tract.

"It's down here in black and white that you
are Fredric March," he said.

"What I mean," I explained, "is that I
don't want to play Barrymore. I want to play
myself."

"Of course you want to play yourself," B.P.
soothed. " Your first picture will be 'The
Dummy.' "

I was pretty sore, until I discovered that I
wasn't playing the title role.

After I'd been around awhile, people got
tired of telling each other of whom I reminded
them, and by and by some gagman said didn't
John Barrymore look like Fredric March.
But by that time I'd already resigned myself
to the fact that a person sometimes does look
like someone else, and that as long as an actor
can keep from looking like the wrath of God
he has an even break.

A >f Y first few years didn't bring me any parts
•*• *-*-over which I could get excited. I was get-
ting pretty much of a routine build-up. But
the parts I got I threw my heart and soul into.
I remember throwing them into " Night Angel "
and, for a while, thinking I'd never get them
back. I grew a beard for my part — a young
Central European lawyer. And what did I
get for it?

In the first place, I got insults. The picture
was to be made in New York, and I had a
short vacation before it was to start, so Mrs.
March and I went on a cruise to the West
Indies and I started the whiskers.

By the time we got to Bermuda, people were
looking at the stubble and wagging their heads
and saying, "That's the tropics for you — a
man soon loses his morale. I'll bet he doesn't
even wash."

Then, after I'd braved their calumny and
arrived back in New York with a really magni-

ficent growth, Eddie Goulding, the director,
didn't like it.

But I was stubborn about shaving it off.
Each day I'd trim off a little here and a little
there, and ask him how he liked it now. When
I got down to just a dot on the chin, he
gave in and said I could wear that if Walter
Wanger, the producer, liked it. But Walter
took one look at it and said I looked more
like a doctor than a lawyer. I slunk out of
his office swearing that I was through suffering
for my art.

That's all I knew about it!

Shortly after, I met Mr. Jesse Lasky at a
conference in New York and casually suggested
that I'd like to do either "Peter Ibbetson" or
"Dr. Jekyll and Mr. Hyde," both of which
Paramount owned. I wanted particularly to
do "Jekyll and Hyde" because I thought it
would give me a swell chance to make
faces.

Well, we did it. But I didn't get my chance to
make faces. Instead, I just supplied the head,
and the make-up man made the faces on it.
For about a month, I got to the studio at six
in the morning and Wally Westmore spent
three or four hours building additions to my
cheek-bones and ears and putting fangs into
my mouth and stuffing things up my nose.

These early morning frivolities almost killed
me, but the Academy of Motion Picture Arts
and Sciences awarded me a gold statuette for
the best male performance of the year 1932
because of "Jekyll and Hyde," and I was will-
ing to call it square.

My trophy was the turning point of my life.
"What," I asked Mrs. March — whom I very
often call "Florence" or "Darling" — "what is
a gold statuette without a marble fawn to go
with it?"

"And what," countered Darling, or Florence,
or Mrs. March, "is a marble fawn without a
lawn to put it on; and a lawn without a house;
and a house without a baby?"

I didn't attempt to answer the obvious.

She smiled for the camera, but wouldn't speak to reporters who asked
if she and Director Mervyn LeRoy were already married. Whatever
their status, Doris, daughter of Harry Warner, and Mervyn look happy

CERTAINLY FUSSY!"

They re proud to announce that "my
wife baked this cake herself" — but
they dont like our hands to look it.
They forget that ten fingers are our
hardest-working tools . . . and only
remember that the hands they held
when we said "I do" were soft and
smooth and white . . .

WELL, thanks to Frostilla
Lotion, it's not hard to keep them
that way! "We just pat on a little of
this delightful, fragrant lotion several
times a day — particularly after our
hands have been in water. It doesn't
take us any time, for Frostilla dries in
a jiffy — its protecting ingredients are
gratefully absorbed by the skin. Yes,
it's as easy as that to ward off the
roughness and redness men don t
like — and it costs very, very little!

3 sizes at drug and dept. stores in U. S. &

Canada - id size at better 5-&-lC>t stores.

(Sales Reps., H. F. Ritchie 6" Co., Inc., N. Y. C.)

r a. a rant

FROSTILLA

LOTION

io8

An Inexpensive

Xmas

Remembrance—

MOVIE

SWEETHEA

Bracelets

Photoplay Magazine for January, 1934

"Well," I said, "We have a baby. You re-
member, don't you?"

"I remember perfectly," she groaned, "on
account of it's the nurse's day out, and at the
moment it looks as if I'd have to give Penny
her orange juice as a hypodermic."

"Orange juice or no orange juice," I said,
getting back to our original discussion, "that
leaves us a house and a marble fawn to go.
We'll draw some plans for a house. Tonight — ■
I have to go to the studio now. We're making
'The Sign of the Cross.' "

"I'm the one who should be making the
sign of the cross," sighed Mrs. March, starting
upstairs with the orange juice.

We never got around to drawing our house
plans ourselves. Not that we hadn't the talent,
but we only had one pencil and we needed that
for contract scoring. Rather than buv another,
we hired an architect.

"We're going to build out here," we told
people.

At first they only raised their eyebrows, as

SOLID BRONZE

IN TWO-TONED

GOLD EFFFCT

WITH PORTRAITS OF SIX

PROMINENT HOLLYWOOD

STARS

Only 35 cents eacli

Every movie fan will want one of these
attractive bracelets. They are the wide band
type with reproductions of prominent Holly-
wood Stars. Start the fad in your town or
locality by being the first one to possess one
of these beautiful bracelets. Don't judge
them by the low price we are asking for
them — they are really very attractive as well
as serviceable bracelets, and they arc lac-
quered to maintain that beautiful gold-like
finish.

Just fill out the coupon with your name and
address, and enclose 35c in coin, stamps or
money order. Your bracelet will be sent
you by return mail.

WALT PRODUCTS,
155 E. Walton Place, Chicago, 111.

WALT PRODUCTS Photo-1-34

155 E. Walton Place
Chicago, 111.

Gentlemen: Enclosed please find 35c in

for one of your solid

bronze movie star bracelets in two-toned
gold effect with portraits of six movie stars.
Send to:

Name

Address

City State

niuch as to say that we were chumps to build
in Beverly Hills when everyone knew that
Westport, Connecticut, was the place where all
good little actors go when they retire, and it
was only a question of time now. But when
they saw we couldn't be swayed, they were
very nice about it and would always ask:
"How's the house coming?" And we'd have
to admit that it wasn't even started yet, be-
cause we couldn't decide whether we wanted a
fireplace in the bedroom and didn't know where
we could put the bath if we did.

TQ UT we Marches always get what we go after
•^and we finally figured out that if we put a
shower in the bedroom fireplace, our problem
would be solved. So now we're ready to start.
By next spring we'll have the house. And by
next summer our house will have a lawn. And
I've already taken an option on a marble
fawn.

So, after all, I guess I'll have something to
show for my first five years in the movies.

The Clown Who Juggled Apples

CONTINUED FROM PAGE 60

hours, I found my father sitting in the kitchen,
as all people who lived in suburbs sat in kitchens
in those days. Only highbrows ever used the
front door of a house."

Bill overlooked one thing. His father was
like Tarn O'Shanter's wife, nursing his wrath
to keep it warm. He chased Bill again, and the
boy decided it was best to remain away.

He slept in a cave that night, used by chil-
dren of the neighborhood for daytime play.

Xow began a weird experience for the boy.
He did not return home for several years, but
lived as best he could in the city. For many
months he lived in the cave, his playmates
bringing him food.

Before he was out of his teens he worked for
two summers as a helper on an ice wagon. "It
was a nice easy job," said Bill, with a touch of
remembered bitterness. "I only had to get up
at three in the morning and lug heavy cakes of
ice on my back till five in the afternoon."

When out of work, which was often, he slept
where he could — "Where the wind could not
reach me. The wind was my greatest menace."

Strange are the furbelows of destiny. Once,
the vagabond boy picked up several apples in
front of a grocery store. He had been wander-
ing along the street, wondering what his future
was to be, and where he would eat that night.

He had seen jugglers in a cheap theater. He
tried to juggle the apples, and found, to his
surprise, that he kept the three moving success-
fully for several minutes.

Exalted, he went juggling down the street
with the grocer's apples. Surely if the mer-
chant but knew of the destiny to which the
young alley boy juggled, he would forgive the
loss of the apples.

He practiced juggling for three years, with
whatever came to hand. As an indifferent
young juggler he earned a meager living for a
few years. He had a strong mind, and knew, a
rare thing among youths, exactly what he
wanted to do.

SINCE time immemorial such people as Bill
Fields, with gypsy hearts, have won high
laurels from the starving beginnings of wander-
ing players — Deburau, the French clown,
greater than Chaplin; Rachel, born of gypsy
Jews at a roadside inn; Nell Gwynne, and
many others.

By some peculiar alchemy of the senses, they
absorb suffering in youth and turn it later to
sad and ironical humor. Never is a clown a
fool. Iiarly they discover without knowing
anything of Nietzsche, that men should learn
to laugh at themselves.

Bill Fields is no exception. Beneath his ex-

cellent drollery, he laughs as often at people as
with them.

When it came time for him to travel beyond
Philadelphia, he gave a benefit performance at,
of all places, Batly Hall. All the performers
worked for nothing, except the young juggler,
Fields. The benefit was for him. With the
ninety-three dollars obtained, he bought some
new clothes, and went to Plymouth Park,
Penna., at a salary of five dollars per week —
one week. The people were kind, however, and
recommended him for an engagement at At-
lantic City.

"Fired again," thought Bill often and long.
On the way to Atlantic City a great buffoon
was born.

"L_TE was paid ten dollars per week as long as
•*- -Mie could draw. He did every thing about the
place. One stunt which came from his active
brain was to swim far out in the ocean. Once
there, he would flounder and yell for help. The
life guards, who worked in shows nearby, would
rescue him. They would rush him to a pavilion,
where a crowd would gather. Then the waiters
would start yelling their wares for sale.

The apple juggler was soon on his way to a
burlesque show at eighteen dollars per week,
which he received — some weeks. When Bill
would ask for a dollar the manager would
shriek, "Do you think I'm made of money? If
I had a dollar I'd start a No. 2 Company."

Stranded at last for keeps in Kent, Ohio, Bill
had twelve dollars. The fare to New York was
eighteen dollars.

The ancient ticket agent— and may the wind
blow gently over his grave — trusted him for the
other six dollars. The son of the gentleman who
stepped on the rake had no money for food or
other such details. But New York, the magical,
was at the other end of the line, and the woe-
iie juggler of stolen apples was on a warm
tr; in in the dead of winter.

fields later played in Akron, Ohio, twelve
miles from Kent. The agent was given one
hundred dollars for the badly needed six
dollars.

The kindly clown asked me not to write
about this. I would not, except — there are
those who say that stage people never re-
member.

Fields arrived in New York, and sold his
overcoat for food. An actor, poor as himself,
gave him a raincoat. There were only two
difficulties: it was three below zero and the
raincoat was many sizes too small for him.
The proud buffoon carried the coat over his arm.

Next, the hardly believable happened. He
got a job with a burlesque show at thirty-five

Photoplay Magazine for January, 1934

dollars a week. And the money was paid every
week! By the time he was twenty, he had
toured the country in vaudeville, and shortly
afterward had been booked in Berlin, Germany,
at one hundred and fifty dollars per week.

THE vagabond boy went from there to all the
capitals of Europe in the next two years.
Another stroke of bad early fortune was to help
him. He had no money in the days of his
hunger to buy that which he wanted — an ex-
pensive juggling outfit, tassels, tights and
spangles. Instead, he contrived a tramp make-
up. Who that has seen him, will ever forget his
inept groping about the stage, his capacity,
born of fear, to do everything wrong. Here was
the great clown — blending laughter and tears,
until the audience, confused, as in real life,
knew not whether to pity or to laugh at him.

Another shrewd observation was made by
the former cash boy.

Pantomimecouldbe understood in anycoun-
try. He never deviated therefrom.

For the next thirteen years his time was
divided between Europe and America, with in-
tervening journeys to Australia, the Orient,
and around the world.

While on his way to India, the German
raider, Emden, chased his ship to Australia.
There he found a cablegram from Charles Dill-
ingham offering him work in New York in
"Watch Your Step," with Frank Tinney. The
trip home required thirty-nine days. Next we
find him with Ziegfeld's Follies, where he re-
mained nine years.

Then he was engaged for a film called " Janice
Meredith."

After a year with Paramount, he returned to
the stage. But the lure of the films and Cali-
fornia had touched him.

He had saved his money for years. It was a
large sum with which to face the evening ot life.
His stage earnings had been many thousands a
week.

He placed the money in a large New York
bank and decided to "play with films."

The bank failed. Fields had lost everything
but courage and tenacity. He wanted to enter
films, and begin life over again. Alas, the pro-
ducers did not seem to want him. He offered
to write, direct and act in a comedy for nothing
— to get a chance. There were no ears to hear.

He finally got two unimportant roles. Then
Mack Sennett at last took him on. He wrote,
directed and acted in four comedies. All were
successful. One paid for itself in three days.

Fields has always believed that a comedian
should do that which he is "mpelled to do on
stage or screen, and trust that the audience
would be impelled to like that which he had
done.

His faith in himself has been justified.

He is now at work in his seventeenth film,
and under contract to Paramount; the com-
pany is building him for stardom.

[" IKE the apples which he juggled from the
■'-'grocer's, he has long since grown mellow.

Not only is Bill Fields a great clown, but a
gentle, tolerant man, who laughs to keep from
crying.

And may it be said in conclusion, that he was
the solace in the old age of the gentleman who
stepped upon the rake.

IO9

The Shadow Staae

CONTINUED FROM PAGE 59 ]

THE VINEGAR TREE—M-G-M

A LICE BRADY as a fluttery " Mrs. Mala-
■**-prop" and Lionel Barrymore as her crusty
husband, try to keep daughter Mary Carlisle
from marrying suave, middle-aged Conway
Tearle. The chatter is bright and amusing,
and Mary proves herself well able to carry a
role in company with the veteran cast.

BEFORE DAWN—RKO-Radio

HTHIS one will really give you goose-flesh and
-*- cold chills. Dorothy Wilson, a spiritualist
medium, tries to help Stuart Erwin, a young
police detective, solve a murder by going into
trances. The scene of the action is an old
haunted house, and no detail which might give
you another shiver-up-the-spine is omitted.
Too scary for children.

THE INVISIBLE MAN— Universal

XTOW you see him, now you don't — which is
•*-^good for some shivers in this pseudo-scien-
tific H. G. Wells tale, hardly as effective on the
screen as in print. Claude Rains (a screen
newcomer) makes himself invisible, but in the
process loses his reason. Imagine what an in-
visible maniac could do and then multiply by
ten. Result — some strong horror. But not up
to "Frankenstein."

BLOOD MONEY—
20th Century-United Artists

(GEORGE BANCROFT'S followers will wel-
^—*come his screen return in this unpretentious
but hearty tale of a big shot bail bondsman
who turns on the underworld which made him,
when society girl Frances Dee lures him in
order to gratify her criminality complex. Lots
of suspense and good characterizations by Ban-
' croft, Judith Anderson and Frances Dee.

OLSEN'S BIG MOMENT— Fox

A DD matchmaking and the care of an in-
•*Moxicated suicidal bridegroom to being a
janitor and that's El Brendel's amusing plight.
Walter Catlett as Robert Brewster, III, fiance
of Barbara Weeks, gets involved with a gun-
man's sister, and faces a sawed-off-shotgun
wedding at four o'clock and a society ditto at
five. Catlett is riotous.

HELL AND HIGH WATER—
Paramount

T~NICK ARLEN gives a starring performance
-*— 'in this picture, which unfortunately fails to
justify it. He plays Cap'n Jericho, the gruff
but lovable owner of an old garbage scow, who
falls heir to a baby — also a girl, Judith xMlen,
when she tries suicide and lands in his nets.
It could have clicked but didn't.

MY LIPS BETRAY— Fox

T ILIAN HARVEY in a musical comedy
-'-'kingdom, is a poor, would-be cafe singer who
wins the attention and later the love of the
romantic young king (John Boles) through an
escapade of his chauffeur (El Brendel). John is
smooth and Lilian is charming; but she works
too hard to save a comedy which was badly
handled. Only mildly pleasing.

DANCE, GIRL, DANCE— Invincible

PVALYN KNAPP splits with her worthless
-'—'vaudeville partner-husband, Edward Nu-
gent, becomes a star in Alan Dinehart's night
club, then cold-shoulders Dinehart and returns
to Nugent. Evalyn has a hard time with her
song numbers, leaving musical honors to Ada
May. Unpretentious, but entertaining.

JEAN HARLOW, co-starring with LEE TRACY

in m-g-m' s" Bombshell"

Sechet~c{ Qftj\c.ctTcrn ?

Florence Vondelle Interviews JEAN HARLOW
"Color in make-up must mean color harmony,"
says Jean Harlow. "And, of course, Max Factor,
who creates all the make-up used by stars and
studios, has the perfect answer in powder, rouge
and lipstick harmonized in color for each type."

1 • "To harmonize with my complexion colorings
. . . platinum blonde hair, very fair skin and blue
eyes. . . Max Factor's Flesh Powder is perfect. So
sort and fine in texture, it blends naturally with
the skin, creating a satin-smooth make-up that I
know will cling for hours."

2. "Rouge should impart a lifelike, delicate flush
of color, and I find Max Factor's Flame Rouge
the correct color harmony for my type. Creamy-
smooth in texture, it blends easily and clings perfectly.
And here's a hint. . .pat it on lightly; blend with
fingertips to gain an added softness of coloring."

3. "Lip make-up is so important ... it must be
moisture proof; it must be permanent in color; it
must harmonize with your colorings, your powder
and your rouge. So I use Max Factor's Super-
Indelible Lipstick . . . Flame is my color harmony
tone. I make up the upper lip first, press my lips
together, and then fill in the natural contour."

■Jr You May Now Share the luxury of color
harmony make-up, created originally for the
stars of the screen by Hollywood's make-up genius.
Featured by leading stores at nominal prices . . .
Max Factor's Face Powder, one dollar; Max
Factor's Rouge, fifty cents; Max Factor's Super-
Indelible Lipstick, one dollar.

TEST YOUR COLOR HARMONY
in FACE POWDER and LIPSTICK

MAX FACTOR,

Alan Factor i Alait-Up Studio,
HoUrwnJ, Califimia.

SrND Purse-Size Box of
Poivder in my color har-
mony shade and Lipstick
Color Tester, four shades.
I enclose 1 0 cents for postage
and handling.

^ Also send my Color Harmony Make-Up Chart and 48-pg. Illustrated
Instruction Book, "Til Nrw Art tf Stein, Metr-Up" FRKE. 1-1-69

Max Factor's Society Make-Up

Qosmetics of the Stars * * HOLLYWOOD

COMPLFXIOXS

EYES

HAIR

Voy L<gfa« a

Gtirnv CI

M«dimn O

Ruddy Q

S.llo- _ D
FncUri D

Blue D

Grjy O

H«d"_a

Brom.—O

BUk D

BLONDES
Ughi._D Dark — D

BROWNETTES
Light— a D*A— a

BRUNETTES
Light— D D»rk_a

REDHEADS
Ligh.-Q DjA-.D
IfHwiG.ay.cttxt
rypr abort «atf ttio
fArrt *«Tt_ O

LASH£S

Lighi D

Dwft a

SKIN

Dry— a oay-_a

Norm! O

M.f

Face Powder - . . Roue? . . Lipstick .

i Cster Harmony

I IO

Photoplay Magazine for January, 1934

Wash off

FACIAL
HAIR

Restore Charm

Simply apply gentle, fragrant DeWans
— wait 3 minutes — then wash off.
Facial hair will be entirely gone. Your
skin will be a thrill to see . . . and a
greater thrill to touch! No smarting.
No reddening. Why, it doesn't even
"pink" the skin! Being mild enough
for facial use, DeWans is, of course,
safe for use on arms and legs as well.
And its new low price makes such use
perfectly economical. DeWans is $1, at
the best department and drug stores.

DeWANSWTACIAL
HAIR REMOVER

WANTED!

Trained Men and Women for
Important Positions in
PHOTOGRAPHY

Opportunities are plentiful. Learn
quickly and easily by the famous
N. Y. I. method of Instruction. Per-
gonal attendance or Ho,,,.- Sindv Courses in

C i„ctci:.1, NVw„, P„rtr:.it, or Motion I'l, -

igraphj Established 1910 '

bookie

//..

I'h,:

New York Institute ol Photography
10 West 33 SI. (Depl. 37C) New York. N. r.

DENISON'S

PLAYS

• Musical Comedies, Oper»

Jettas, Vaudeville Acta,

lXr£*c/ Minstrels, Comedy

, Songs. Make-up Goods.

Catalog Free

T.S. Denison & Co. 623 S.Wabash, Dept. 76. Chicag

ienes™TKesrre

Graduates: Lee Tracy, Pegsv Shfl
Johann, Mary Pickfr.rd, etc". Drama
Opera, Personal Development. Culture
ancee while learning. For catalog,
85th St., N. Y.

ed Aetaire. Una Merkel. Zi
ice. Speech, Musical Comedy,
ck Theatre I raining app-ur-
e Sec'v ERWIN, 66 West

A Symbol

npHE Yule log— symbol of
Christmas through the ages.
On the great holiday the lord of
the manor threw wide the doors,
and misery and squalor were for-
gotten in the cheer of the boar's
head and wassail.

Customs change, but the Christ-
mas spirit is ageless. Today mil-
lions express it by the purchase
of Christmas Seals — the penny
stickers that fight tuberculosis —
still the greatest public health
problem. Your pennies will help
pay for free clinics, nursing serv-
ice, preventoria, tuberculin test-
ing, X-rays, rehabilitation and
other important work such as
medical and social research.

The National, State and Local

Tuberculosis Associations

of the United States

Buy Christmas Seals

RIDER OF JUSTICE— Universal

•"THE same old story — they didn't even
•*■ change the horses, this trip. Ken Maynard
is the disappearing nephew who shows up with
a badge in time to save the pretty girl's ranch.
So implausible that even the kids objected.
The scenery will save you the fare to Arizona,
if you like scenery.

QUATORZE JUILLET ("July 14")—
Protex Pictures

"D OMANCE grows from the depths of Paris
-*■ ^-when a taxi driver and a neighbor girl cele-
brate the French national holiday. Those
knowing French will appreciate the humor of
the lines and Rene Clair's subtle direction; for
the rest of us, it's slow, mild entertainment,
although some of the fun can be understood in
any language.

LONE COWBOY— Paramount

JACKIE COOPER is all this one can offer, for
J Will James' Western emerges from its screen
wash wrung pretty dry. Not even the usual
action and scenery aid the very evident story
about orphan Jackie sent West to his dead
father's pal, who is embittered by Lila Lee's
faithlessness. Of course, Jackie regenerates the
grouch.

SPECIAL 1NVESTIGATOR-
Universal

•"THE trouble with this mystery story is that
■*■ it's too mystifying to make much sense to
the audience. A number of suspects are
rounded up after a murder, among them Ons-
low Stevens and Wynne Gibson. Things look
bad for Onslow until Wynne has a brainstorm
and saves the day. A good cast, including Alan
Dinehart and Warren Hymer.

DER SOHN DER WEISSEN BERGE

(THE SON OF THE WHITE

MOUNTAINS)— Itala Film

A GERMAN-MADE film with Luis Trenker
■*■ *• as the skiing hero, who upholds com-
munity honor despite complications arising
from love and a false murder charge. Trenker
and the cast do well; but the majestic beauty
of the Alps steals the picture.

POLICE CAR 17— Columbia

CTOCK melodrama, woodenly acted, with
^Tim McCoy and Evalyn Knapp presiding.
She's the daughter of a police lieutenant, in-
jured in capturing a notorious criminal; Tim
McCoy is on a radio squad car. The criminal
escapes prison, gets after papa; noble Tim gets
a hunch that puts him on the trail; and so on.

Star News from London

CONTINUED PROM PAGE 77 ]

When I asked her why she had done such an
unbelievable thing, she grinned.

"Because I want experience," she replied.
"I want to be a big hit over here first. I don't
want to be 'Made in Hollywood.' I'm going
out there only after I've really made good
here!"

It really begins to look as if the yessing of
the Hollywood big shots has ceased being uni-
versal.

"T)ON ALVARADO and Raquel Torres are
-*— lovers again — screen, of course. The last
time it happened was when they played
opposite one another in "The Bridge of San
Luis Rey."

Now Alvarado is Raquel's gypsy lover in
"The Red Wagon," a British International
film starring Charles Bickford.

When Alvarado arrived at Plymouth the im-
migration authorities wouldn't let him land —
his passport lacking a British visa. Anyhow,
they remembered when last year he appeared
at Southampton with Marilyn Miller — both of
them without even a passport. On that
occasion, as you doubtless recall, they had
boarded the Bremen in New York to bid Mrs.
Alan Dwan bon voyage — only to be carried
away in the ship.

The British International people got busy
and within a few days obtained the necessary
permit for Alvarado to come on from Paris and
go to work.

A T luncheon with H. B. Warner at the
-'■■Berkeley another day, we had a grand time
talking about Hollywood.

He's been making a talkie version of
"Sorrell and Son."

You'll recall he did a silent of this several
years ago.

Warner told me the thing that impressed
him most upon his return to this, his native
land, was the marvelous memory with which
all English servants are blessed. Waiters and
doormen who haven't seen him for countless
years all address him by name — and tickle him
pink by doing it.

Also the tiny size of this little isle affects him

strangely — after the vast distances of the
United States.

"It reminds me," he said, "of the English-
man who set out from New York to go to San
Francisco.

"When, after four days in the train, he
arrived he found the town all decorated and
illuminated. It was evident some celebration
was in progress.

" 'What's the occasion?' he inquired.

" 'It's Columbus Day,' somebody told him.
' Columbus is the guy that discovered America,
you know.'

"'Discovered it?' echoed the Englishman.
'I don't see how he could possibly have missed
it!'"

Warner will soon be back in Hollywood.
He's keen as mustard to find out how his fellow
English actors are getting on with their cricket.

ANNA MAY WONG tells me she adores
■* ^-London and says she hopes to be able to
settle down here permanently.

She has made not a few films at Elstree
where they think the world of her. So far as
engagements are concerned there is no question
about her being able to stay in London from
now on.

A ND here's the latest Charlie Bickford
-**-crack :

"The Red Wagon," being a circus story, has
a sequence in which two lions are used. The
day they were shooting this sequence the
beasts were evidently out of sorts.

In spite of everything their trainer could do
to quiet them they persisted in growling and
snarling. Of course, it was out of the question
to try to record dialogue against such an
uproar.

When, finally, the director decided there was
nothing left to do but call off work for the day
— Bickford took command of the situation.

"I'll fix 'em," he announced.

Then scowling savagely, he strode up to the
cage and — arms akimbo and eyes blazing — he
faced the growling animals.

"Shut up!" he yelled. "SHUT UP!''

And, believe it or not, those beasts shut up!

Photoplay Magazine for January, 1934

I I I

Brief Reviews of Current Pictures

[ CONTINUED FROM PAGE 17 ]

TILLIE AND GUS— Paramount.— Even W. C.
Fields and Alison Skipworth couldn't make much of
this would-be comedy. (Dec.)

TO THE LAST MAN— Paramount. — Randolph
Scott and Esther Ralston, as representatives of
feuding ex-Kentucky families, lend welcome plot
variety to this good Western. (Dec.)

TOMORROW AT SEVEN — RKO-Radio —

Snappy melodrama, with Chester Morris uncovering
a villain who kills on time to the dot. Vivienne Os-
borne. (July)

•TOO MUCH HARMONY — Paramount— A
zippy musical enriched by Jack Oakie, Bing
Crosby, many other A-l laugh-getters. A riot of fun.
( Nov.)

TORCH SINGER— Paramount.— Claudette Col-
bert is an unmarried mother who succeeds as a singer.
Her songs are fine; Baby LeRoy. (Nov.)

TRAIL DRIVE, THE— Universal.— An
able Western with Ken Maynard. (Oct.)

accept-

* TUGBOAT ANNIE— M-G-M — Marie Dres-
sier and Wally Beery provide fun running their
tubgoat about Seattle. Not exactly a "Min and
Bill," but splendid entertainment. (Oct.)

• TURN BACK THE CLOCK— M-G-M.— Lee
Tracy does a bang-up job as a man given a
chance to live his life over again. Mae Clarke, Peggy
Shannon, Otto Kruger, others; a fast-moving, grip-
ping story. ( Nov.)

• VOLTAIRE— Warners.— A triumph for
George Arliss, as the whimsical French phil-
osopher intriguing at court. Reginald Owen superb
as Louis XV. (Sept.)

W A FFLES — Helen Mitchell Prod.— They
shouldn't have tried making a Southern girl of Sari
Maritza. The rest of it is in keeping with this mis-
take. ( Nov.)

WALLS OF GOLD— Fox.— Sally Eilers, others,
wander dully through a dull tale about marrying for
money after a lovers' falling out. (Dec.)

WALTZ TIME — Gaumont-British. — Charming
music helps a dull, draggy story. (Dec.)

• WARRIOR'S HUSBAND, THE — Fox-
Broad satire about the Amazons of old — women
warriors, led by Queen Marjorie Rambeau and Elissa
Landi. But Ernest Truex, by a trick, lets the Greeks
win; and how the Amazons like what happens then!
Excellent fun. (July)

WAY TO LOVE, THE— Paramount.— Maurice
Chevalier wants to be a Paris guide, but finds himself
sheltering gypsy Ann Dvorak in his roof-top home.
Plenty of fun then. (Dec.)

WHAT PRICE INNOCENCE?— Columbia.—
Parents Minna Gombell, Bryant Washburn, won't
tell daughter Jean Parker the truth about sex, as
advised by doctor Willard Mack; tragedy follows.
A powerful sermon. (Sept.)

• WHEN LADIES MEET— M-G-M.— Unexcit-
ing, but brilliantly acted. Ann Harding as wife,
Myrna Loy as menace, Frank Morgan, Alice Brady,
Bob Montgomery. (Aug.)

WHEN STRANGERS MARRY— Columbia —
A dull piece, offering nothing new, about why white
men's wives go wrong in the tropics. Jack Holt,
Lilian Bond. (Aug.)

WILD BOYS OF THE ROAD— First National —
A will-done story of youngsters who turned hoboes
during the depression. (Dec.)

WOMAN I STOLE, THE— Columbia.— Herge-
sheimer's "Tampico" done in Algeria. Big oil man
Jack Holt after Donald Cook's wife, Fay Wray.
Fair. (Sept.)

• WORLD CHANGES, THE— First National.
— Paul Muni splendid in the life story of a
Dakota farm boy who amasses a fortune in the meat
packing industry, but is ruined by greedy snobbish
relatives. (Dec.)

WORLD GONE MAD, THE— Majestic Pictures.
— A scrambled thriller, about crooked bankers who
hire gangsters to avoid exposure; doesn'tclick. (July)

WORST WOMAN IN PARIS?, THE— Fox.—

Adolphe Menjou, Benita Hume, Harvey Stephens, in
a mild tale about a misunderstood woman. (Dec.)

WRECKER, THE — Columbia. — So-so story
about he-man Jack Holt, in the house-wrecking busi-
ness, who loses his wife (Genevieve Tobin) to home-
wrecker Sidney Blackmer. George E. Stone great as
a junkman. (Oct.)

"Now this is how I like to do my big game hunting"

Faded
blonde hair is

OLD HAIR.f

Make your Hair Radiantly
YOUTHFULLY Beau-
tiful with Marchand's

EVEN if you are only 21. If your blonde
hair has become faded or darkened —
ITS OLD LOOKING. It lacks the allure
and fresh loveliness it should have — AND
CAN HAVE!

Blondes! Keep your hair radiantly, youth-
fully, beautiful with Marchand's Golden Hair
Wash. Pretty hair is your birthright. En-
joy all the admiration (and envy) it can
bring you !

Marchand's will make your hair an even,
lustrous shade that you'll like — one that's
becoming to you. Try a single "secret"
treatment to see for yourself. Marchand's
works in a conservative REFINED way. You
can control the effect — lightening hair just
the tiniest shade. No one else need know —
it will be your "secret." New hair growing
in can be matched skillfully. Hair that has
always been dark can also be beautified if
lightened with Marchand's. Not a dye. Com-
plete directions on bottle makes it simple to
do yourself.

Make Dark Hair on Arms and Legs
Unnoticeable it'ith Marchand's
Have smooth, dainty arms. Wear the sheer-
est hose. Llse Marchand's because it avoids
the two great disadvantages of other methods.

1. It does not make the skin hard or stubbly.

2. It does not promote a coarse re-growth of
hair. Marchand's is quick, inexpensive and
effective.

IMPORTANT — For the right results, get the
genuine. Be careful of substitutes or imi-
tations. See that the label spells — MARCH-
AND'S.

ASK YOUR DRUGGIST OR GET
BY MAIL
For a regular size bottle, fill in coupon,
mail with 45c (coins, money order or
stamps) to C. Marchand Co., 251 West
19th St., New York City.

Dept. i-D

I Your Name I

A idn

City.

State.

I Drug/jist's Name I

I Address I

I 12

Photoplay Magazine for January, 1934

Its lUorse News of the Fan Clubs

TO BE POOR
at

Christmas
Time . . .

Other parents taking dolls and trains
and neu? clothes to their children . . .
lpur boy and girl wondering u?hy they
are passed by . . . not understanding
that the Blue Eagle can't help euery one.

Long lists of needy families . . looking
to <The Salvation Army . . . 686,946
Christmas Dinners last year . . . 319,283
children made happy ipith gifts . . .

1 eople don t Intend to be thoughtless . . .
they jast forget . . . and Ohristmas passes.

MAIL l]OUR CHECK OR HIONEIJ ORDER
TODA1J TO : *

COmTTlANDER
EUANQELINE BOOTH

Tlational Headquarters

CTHE SALUATION ARTTll]

[Incorporated]

120-130 TDest 14th Street
Tleu> Uork, N. TJ.

(Jr, if you prefer, send your gift to
your Local branch of tS«e Salvation
Cjrmy. {jifts may be designated for any
specific purpose or district.

REPORTS to the Photoplay Association
of Movie Fan Clubs from the Chicago
group of fan clubs reveal plans for the
production of three one act plays. All clubs
in the Chicago area are discussing this event,
and each play is to be an original written by
club members. The first play is scheduled for
showing shortly after the holidays. This
marks the beginning of the first serious work
by the Chicago clubs as a group.

""THE Billie Dove Fan Club, of which
-1- Lenore A. Heidorn, 5737 South Artesian
Ave., Chicago, is president, celebrated its
fifth anniversary with a big party at Miss
Heidorn's home.

The Ruth Roland Club, Lillian Conrad,
President, 4822 Meade Ave., Chicago, and the
Johnny Downs Fan Club, Ruth E. Keast,
President, 3506 West 64th St., Chicago,
recently celebrated their third successful year
of operation.

Anna Glance, 7953 Merrill Ave., Chicago,
president of the Jackie Cooper Club, probably
has the honor of having the youngest member.
Miss Barbara Woods, two weeks old niece of
Miss Glance, has been signed up for member-
ship.

Bonnie Bergstrom, 6805 South Artesian
Ave., Chicago, president of the Barbara
Stanwyck Buddies, announces that Miss
Stanwyck recently passed through Chicago
on her way West after having completed a
personal appearance tour in the East.

Ethel Musgrove, secretary of the Ramon
Novarro Fan Club (Canada), 6384 Elgin St.,
Vancouver, B. C, Canada, announces that
the name of the organization has been changed
to the Ramon Novarro Service League.

Lillian Musgrave, 2700 Vincent Ave.,
North, Minneapolis, Minn., president of the
John Boles Music Club, just sent in the first
bulletin issued by the club. It is nicely arranged
and goes to show that a club can issue an
interesting paper.

The Bodil Rosing Fan Club has been send-
ing in some interesting bulletins entitled
" Bodil and Her Fans." Mrs. Millie Wist,
editor, edits the paper in Hollywood so that

the club members really get first hand in-
formation about the news of the studios.

A note from J. H. Bloss, 514 Scott Avenue,
Syracuse, New York, president of the Herald
Cinema Critics Club, states that the club
put on a half-hour broadcast of a tabloid
version of "Footlight Parade" over WSYR.

Chaw Mank, 226 E. Mill St., Staunton, 111.,
president of the Movie Fans Friendship
Club, announces that he has organized a
Dick Powell Club. The M. F. F. C. has been
growing according to Chaw and he has bright
hopes for the future of his newest club.

1 I 'HE association has a number of club
■*■ applications pending, including:

Dick Powell Club, Chaw Mank, President,
226 East Mill St., Staunton, 111.

Tom Brown Club, Donato R. Cedrone,
President, 288 Nevada St., Newtonville, Mass.

Bodil Rosing Fan Club, Mrs. Millie Wist,
Editor, 177 South Citrus Ave., Los Angeles,
and Mrs. Martin Boyer, President, 1121 East
Ferry Street, Buffalo, N. Y.

Maureen O'Sullivan Club, Marionne Op-
penheim, Secretary, 242 East 94th St., New
York, N. Y.

Gloria Stuart Fan Club, Estelle Nowark,
President, 3223 North Central Park Ave.,
Chicago, 111.

Screen Guild Fan Club, James J. Earie,
President, 104 West River St., Elyria, Ohio.

IMPORTANT

rpHE question of a 1934 Fan Club Conven-
*■ tion has been brought up for discussion in
several clubs. Last year the first, and a very
successful gathering, was held in Chicago in
June. Several clubs failed to receive notice
of the convention and therefore did not
attend.

In view of the many important questions
that such a meeting involves we would like to
have you begin discussing the convention
now with your various members. Any sug-
gestions which you may have will be welcomed.
It is desired to make the second annual con-
vention an outstanding success.

H mm

H **

53P - ■*"

f^~r?f¥j| Ey

1 Sfc

L? M P3P5

flfe,

wffBM

- r C

*&*'

Keystone

If you're an "old-timer" you will recognize most of them. They're stars of
the past. Standing, left to right, are Lionel Belmore, Maurice Costello,
Paul Panzer, Mrs. Panzer, Bryant Washburn, Anita Stewart, J. Stuart
Blackton, Mrs. Blackton, Marion Constance Blackton. Seated: Florence
Turner, Kate Price, Bud Duncan, Mary Anderson, Flora Finch, Ben
Turpin. They're planning a movie "comeback" in "The Film Parade"

Photoplay Magazine for January, 1934

Addresses of the Stars

Hollywood, Calif.

Paramount Studios

Brian Alicrne
Judith Allan
Lona Andre
Richard Aden
George Barbier
Mary Boland
Grace Bradley
Kathleen Burke
Burns and Allen
Glaudette Colbert
Gary Cooper
Buster Crabbe
Bins Crosby
Dorothy Dell
Marlene Dietrich
Frances Drake
W. C. Fields
William Fravvley
Frances Fuller
Cary Grant
Shirley Grey
Verna Hillie
Miriam Hopkins
Roscoe Karns
Percy Kilbride

Jack La Rue
Charles Laughton
Baby LeRoy
John Davis Lodge
Carole Lombard
Fredric March
Herbert Marshall
Four Marx Brothers
Jack Oakie
Gail Patrick
George Raft
Lyda Roberti
Lanny Ross
Charlie Ruggles
Randolph S
Sylvia Sidii
Alison Skip worth
Sir Guv Standing
Kent Taylor
Evelyn Venable
Mae West
Dorothea Wieck
Toby Wing
Elizabeth Young

Fox Studios, 1401 N. Western Ave.

Rosemary' Ames
Heather Angel
Lew Ayres
Jane Barnes
Mona Barrie
Warner Baxter
Irene Bentley
John Boles
Clara Bow
Nigel Bruce
Henrietta Crosman
Frances Dee
Florence Desmond
James Dunn
Sally Eilers
Stepin Fetchit
Norman Foster
Preston Foster
Dixie Frances
Henry Garat
Janet Gaynor
Lilian Harvey
Alfred Hesse

Rochelle Hudson
G. P. Huntley, Jr.
Roger Imhof
Suzanne Kaaren
Miriam Jordan
Victor Jory
Howard Lally
William Lawrence
Eleanor Lynn
Philip Merivale
Ralph Morgan
Herbert Mundin
George O'Brien
Will Rogers
Raul Roulien
Wini Shaw
Sid Silvers
Spencer Tracy
Claire Trevor
Helen Vinson
Blanca Vischer
June Vlasek

RKO-Radio Pictures, 780 Gower St.

Fred Astaire
Nils Asther
Constance Bennett
June Brewster
Clive Brook
Bruce Cabot
William Cagney
Mowita Castanada
Chick Chandler
Alden Chase
Jean Connors
Dolores Del Rio
Richard Dix
Irene Dunne
Charles Fan-ell
Betty Furness
Skeets Gallagher
William Gargan
Wynne Gibson
Ann Harding

Katharine Hepburn
Dorothy Jordan
Pert Kelton
Edgar Kennedy
Francis Lederer
Dorothy Lee
Eric Linden
Helen Mack
Sari Maritza
Joel McCrea
Colleen Moore
Ginger Rogers
Robert Shayne
Adele Thomas
Nvdia Westman
Bert Wheeler
Thelma White
Howard Wilson
Robert Woolsey

United Artists Studios, 1041 N. Formosa
Ave.

Eddie Cantor
Charles Chaplin
Ronald Colman

Douglas Fairbanks
Mary Pickford

Anna Sten

20th Century Studios, 1041 N. Formosa
Ave.

Judith Anderson
George Arliss
George Bancroft
Sally Blane
Constance Cummings

Arline Judge
Paul Kelly
Blossom Seeley
Fay Wray
Loretta Young

Columbia Studios, 1438 Gower St.

Walter Connolly
Donald Cook
Richard Cromwell
Jack Holt
Elissa Landi
Edmund Lowe
Tim McCoy

Grace Moore
Toshia Mori
Jessie Ralph
Gene Raymond
Joseph Schildkraut
Iris Sotherfl
Dorothy Tree

Culver City, Calif.

Hal Roach Studios

Charlev Chase
Billy Gilbert
( lliver Hardy
Patsy Kelly
Stan 1
Dorothy Layton

Lillian Moore
Billy Nelson
Our Gang
Nena Quartaro
Thelma Todd
Oliver Wakefield

Metro-Gold wyn-Mayer Studios

Elizabeth Allan
Agnes Anderson
Max Baer
John Barrymore
Lionel Barrymore
Wallace Beery
Mice Brady
Charles Butterworth
Mary Carlisle
Ruth Channing
Mar Clarke
Jackie Cooper
Joan Crawford
Marion Davies
Marie Dressier
Jimmy Durante
Nelson Eddy
St uart Erwin
Madge Evans
Muriel Evans
(lark Gable
Greta Garbo
C. Henry Gordon
Russell Hardie
Jean Harlow
Helen Hayes
Ted Healy
Jean Hersholt
Irene Hervey
Phillips Holmes
Jean Howard
Walter Huston
Isabel Jewell

Otto Kruger
Myrna Loy
Ben Lyon
Jeanette MacDonald

'Mala

Margaret McConnell
Florine McKinney
Una Merkel
Robert Montgomery
Polly Moran
Frank Morgan
Karen Morlej
Ramon Novarro
Maureen O'SulIivan
Earl Oxford
Jean Parker
Jack Pearl
Nat Pendleton
Esther Ralston
May Robson
Ruth Selwyn
Norma Shearer
Martha Sleeper
Mona Smith
Lewis Stone
Franchot Tone
Lee Tracy
Lupe Velez
Johnny Weissmuller
Ed Wynn
Diana Wynyard
Robert Young

Universal City, Calif.

Universal Studios

Robert Allen
Vilma Banky
Vince Barnett
Andy Devine
Louise Fazenda
Sterling Holloway
Leila Hyams
Buck Jones
Boris Karloff
Jan Kiepura
Evalyn Knapp
June Knight
Paul Lukas
Mabel Marden

Ken Maynard
Chester Morris
Charlie Murray
ZaSu Pitts
Roger Pryor
Claude Rains
George Sidney
Onslow Stevens
Gloria Stuart
Margaret Sullavan
Slim Summerville
Luis Trenker
Alice White

Burbank, Calif.

Warners-First National Studios

Loretta Andrews
Mary Astor
Robert Barrat
Richard Barthelmess
George Blackwood
Joan Blondell
Joe E. Brown
Lynn Browning
James Cagney
Hobart Cavanaugh
Ruth Ciiatterton
Dorothy Coonan
Ricardo Cortez
Bette Davis
Claire Dodd
Ruth Donnelly
Ann Dvorak
Patricia Ellis
Glenda Farrell
Philip Faversham
Helen Foster
Kay Francis
Geraine Grear
Hugh Herbert
Arthur Hohl
Ann Hovey
Leslie Howard
Alice Jans
Allen Jenkins
Al Jolson
Paul Kaye

Ruby Keeler
Guy Kibbee
Lorena Layson
Margaret Lindsay
Marjorie Lytell
Aline MacMahon
Helen Mann
Frank McHugh
Adolphe Menjou
Jean Muir
Paul Muni
Theodore Newton
Pat O'Brien
Henry O'Neill
Edwin Phillips
Dick Powell
William Powell
Phillip Reed
Edward G. Robinson
Barbara Rogers
Katlnvn Sergava
Barbara Stanwyck
Lyle Talbot
Sheila Terry
Genevieve Tobin
Juliette Ware
Gordon Westcott
Renee Whitney
Warren William
Pat Wing
Donald Woods

NEW

HEN you visit New York
enjoy the comforts of an ideal
home and still be in the heart of
the Motion Picture Art Centre.

Parlor with Bedroom and Bath
$ C00 PER DAy FOR

3 — ONE OR TWO
$125.00 per month

Largest Single

Boom In $3 CQ

New York J,'v

PER DAI

for this Beautiful 2-Room Suite.
3-Room Suites in proportion.

All rooms equipped with combi-
nation tub and shower bath and
running ice water. Ideal loca-
tion— adjacent to shopping, busi-
ness and theatre districts.

Swimming Pool and Gymnasium
FREE to Guests.

Write for details. Telegraph reservations
(Collect)

ENJOY NEW YORK'S

COCOANUT GROVE

^rlrjgtttral

56th St. at 7th Ave.
New York City

Lloyd Hughes, 616 Taft Bldg.. Hollywood, Calif.

Harold Lloyd, 6640 Santa Monica Blvd., Hollywood,

Calif.

Neil Hamilton, 9015 Rosewood Ave.. Los Angeles,

Calif.

The Social Embassy

of Two Continents

Photoplay Magazine for January, 1934

Screen Memories From Photoplay

15 Years Ago

IN NEW YORK

This world-famous hotel offers
the finest accommodations, ser-
vice and cuisine at prices com-
mensurate with prevailing
economic conditions.

Celebrities of the diplomatic,
stage and screen world focus
their social life on the colorful
stage of The Ambassador, con-
veniently located on New York's
most famous thoroughfare.

Single Rooms -from $5

Double Rooms from $7

THEO KROELL, General Manager

AMBASSADOR

Park Avenue at 5 1st, New York

'A Woman may Harry
Whom She Likes!"

— said Thackeray. This great
author knew the power of wo-
men— better than most women
do. Men are helpless in the hands
of women who really know how
to handle them. You have such^'
powers. You can develop and use them to win a
husband, a home and happiness. Read the secrets
of "Fascinating Womanhood" a daring book which
shows how women attract men by using the simple
laws of man's psychology.

Don't let romance and love pass you by. Send us
only 10c and we will send you the booklet entitled
"Secrets of Fascinating Womanhood"— an inter-
esting synopsis of the revelations in "Fascinating
Womanhood." Sent in plain wrapper. Psychology
Press, Dept. 4-A. 585 Eingsland Avenue, St. Louis, Mo.

High School Course
in 2 Years

You can complete

this simplified High
School Course at home In
2 years. Meets all requirements for entrance to college

and leading professions. Standard Hik'h School texts supplied.
Diploma awarded. Separate subjerts if desired. Send for Free
Bulletin TODAY. . _ , . No obligation.

American School

* Dept. H-134. Drexel Ave, at S8th St.. Chicago

YOU WANT CUSS PINS-we hare them—
any letters, any year, any colors. Silver
plated, 1 to 11, 35c ea; gold plated. 45c ea;
sterling, 60c ea. Silver plated, 12 or more,
30c ea; gold plated, 40c ea; sterling, 45c ea.
Sterling silver rings as shown, lor moret
$1.60 ea. Write For Free Catalogue.'

I Metal ArtsCo.,lnc. Factory 58 Rochester.N.Y.

2AA MOVIE STARS PHOTOS— ALL FOR {4
" " 8 s 10 individual photo of your favorite Star. ■•>•
autographed. Also a beautiful pennant. 34 x 15, with over 200
famous Stars' photos, Hollywood's Wheel of Chance in four
gorgeous colors. Ideat Christmas, New Year's or Birthday cift.
All for only SI. Give name of favorite Star when ordering.
SCREEN STAR'S BUREAU. Dept. 51, P. 0. Bn 74. HOLLYWOOD, CALIF.

... FEMININE HYGIENI'
FORMULA NOW AVAILABLE
A Hollywood sensation— Powerful germ killer. Dissolves
in natural secretions. Stop worries with STAR TABS.
Safe — Sure — Easy to use and harmless. "The Best is
Economy." Regular size $2. 00: triple size S5. 00. Dept.
17, Box 1703, Hollywood, Calif.

TN our issue of January, 1919,
-*-the "post-war" epoch of films
was fairly under way — with some
curiously prophetic comments!
We remarked that America was
the nation best fitted to heal war
wounds, and that movies would
be a great "good will" force, to
promote understanding among
nations. How true that proved,
in view of the world-wide clamor
later that movies were "Amer-
icanizing" the youth of every
land!

Madge Kennedy told — and how odd this
sounds now — about coming from California to
New York to get her start in movies ! She did it
at just about the time the movies were mi-
grating from New York to California. Another
"sign of the times" — air mail had been started,
and one of the first "letters" mailed was
Douglas Fairbanks, Sr. This was done to
help speed him about the country in his war
work.

Madge
Kennedy

Up to this time, actresses had
been rather generally afraid of
confessing to having children. In
this issue a great reigning favorite
of previous years — Kitty Gor-
don, of the beautiful back —
proudly presented her daughter.
A sad note in this issue was an-
nouncement that Harold Lock-
wood, one of the greatest
favorites of the day, had died.
Another favorite, Montagu Love,
explained in this issue that he
wouldn't give details about him-
self, because he believed this shifted interest
too much from the film to the actor. Little
chance he was to have, of turning away the
fast-kindling publicity spotlight!

Of the month's films, Caruso's first screen
effort was most interesting. We said, though,
that directors must have been too awed to
direct, for it didn't turn out so well. Theda
Bara's much heralded "Salome" we called a
mess. On the cover — Marie Doro.

10 Years Ago

BY January, 1924, the "golden
year" of 1923, with all its
reckless "million dollar" extrav-
agances, had brought dire pun-
ishment to the movies. So many
"super specials" had been created
that theaters couldn't absorb
them; so studios were shutting
down, salaries were being cut,
and all Hollywood was "broke."
Relief was promised, however, as
soon as films on hand got into
circulation.

Everyone seemed agog those
days about who was to play in that sensational
film, Elinor Glyn's "Three Weeks." So it was
decidedly the news of the month, when we
announced that Aileen Pringle would do the
emoting on the tiger skin. Of the newer
stars, we hailed Malcolm McGregor and Fred
Thomson, the Princeton and Olympics athlete
who became a minister, a war chaplain, and
now was seeking to convey inspiration to right
living by his spectacular work in "stunt"

Aileen
Pringle

stories involving airplanes and
motorcycles.

Both Bebe Daniels and
Richard Dix explained at length,
"Why I Have Never Married."
Richard wanted to find the right
woman to be both wife and
mother; Bebe wanted to be sure
the marriage would last, once
made, even though she continued
her career.

D. W. Griffith was blocking
roads near New York City and
Boston, and otherwise upsetting
the countryside, screening "America."

The six best pictures of the month were
topped by Barbara La Marr's "The Eternal
City," with Jackie Coogan next in "Long
Live the King." The rest: "The Acquittal
(Claire Windsor, Norman Kerry, Barbara Bed-
ford), "Anna Christie" (Blanche Sweet), "Pon-
jola" (Anna Q. Nilsson), "Flaming Youth"
(Colleen Moore). On the cover— Barbara La
Marr.

5 Years Ago

TN our issue of January, 1929,
-'■we reviewed the previous year
and awarded top honors in best
performances to Jack Gilbert,
with four, and Emil Jannings,
with three. But alas! Sound
had come, and each of these stars
was even now in eclipse, though
no one knew it.

Joan Crawford was named the
outstanding new star, although
Janet Gaynor's "7th Heaven"
had placed her well up. In her
autobiography, running at the
time, Janet told of getting her start as a Hal
Roach extra. Aileen Pringle, who became
famous five years ago in "Three Weeks," now
was annoyed at being called "high-brow,"
while her partner in that film, Conrad Nagel,
was astonishing the world with the richness
and appeal of his voice in talkies.

One studio was worrying about what to call
a new character actor it had acquired. His
name was Muni Weisenfreund, which wouldn't

Paul

Muni

do. One idea was to call him
Muni Wise, but there was fear
people would change that to
Money Wise. So they decided
to call him Paul Muni.

Talkies w7ere really hitting
their stride now. Ruth Chatter-
ton was to do Barrie's "Half an
Hour" under title "The Doctor's
Secret." Eric Von Stroheim was
standing Hollywood on its ear,
and had Gloria Swanson living
at the studio, doing "Queen
Kelly," the film that made much
studio history before it was abandoned.

Emil Jannings' "Sins of the Fathers" led
the best films; Garbo's and Gilbert's "A
Woman of Affairs" came next. The other
four: "Outcast" (Corinne Griffith, Eddie
Lowe), "Romance of the Underworld"
(Corinne Griffith, Robert Elliott), "Scarlet
Seas" (Richard Barthelmess), "Red Wine"
(Conrad Nagel). Cover honors went to
Madge Bellamy.

Photoplay Magazine tor January, 1934

Hollywood Fashions

by Seymour

Here is a list of the representative stores at which faithful copies of the smart styles
shown in this month's fashion section (Pages 61 to 66 ) can be purchased. Shop at or
write the nearest store for complete information.

ARKANSAS—

Pollock's,

fayetteville.
Pollock's.

fort smith.
The M. M. Cohn Company,

LITTLE ROCK.

CALIFORNIA—

J. \Y. Robinson COMPANY,

LOS ANGELES.

The H. C. Capwell Company,

OAKLAND.

Hale Brothers, Inc.,

sacramento.
The Emporium,

san francisco.

COLORADO—

The Denver Dry Goods Company,

DENVER.

CONNECTICUT—

The Manhattan Shop,
hartford.

DELAWARE-
ARTHUR'S Apparel Shop, Inc.,

WILMINGTON.

DISTRICT OF COLUMBIA—
Lansburgh & Brother,
washington.

FLORIDA-
RUTLAND Brothers,

ST. PETERSBURG.

IDAHO—
The Mode, Ltd.,

BOISE.
ILLINOIS-
MARSHALL Field & Company,
CHICAGO.

C. E. Burns Company,

decatur.
Clarke & Company,

PEORIA.

S. A. Barker Company,

SPRINGFIELD.

INDIANA—

L. S. Ayres & Company, Inc.,

INDIANAPOLIS.

IOWA—

M. L. Parker Company,

davenport.
Younker Brothers, Inc.,

des moines.
J. F. Stampfer Company,

DUBUQUE.

MAINE—
B. Peck Company,
lewiston.

MARYLAND—

HOCHSCHILD, KOHN & COMPANY,
BALTIMORE.

MASSACHUSETTS-
JORDAN Marsh Company,
boston.

MICHIGAN—
Wm. Goodyear & Company,

ANN arbor.
Seaman's, Inc.,

battle creek.
The J. L. Hudson Company,

DETROIT.

Wurzburg's,

grand rapids.
Gilmork Brothers,

kalamazoo.
The Style Shop.

LANSING.

MINNESOTA—
The Dayton Company,
minneapolis.

MISSOURI—
Sn\. Baek & Fuller Company,
saint LOUIS.

NEBRASKA—
Orkin Brotiii rs

LINCOLN.

NEW JERSEY—
11 mini; & Company,

NEWARK.

NEW YORK—
Kalet's,

AUBURN.

Abraham & Straus,

brooklyn.
J. N. Adam & Company,

buffalo.
The Parisian, Inc.,

ithaca.
Bloomingdali 's.

new york city.
H. S. Barney Company,

schenectady.
Flah & Company,

syracuse.
D. Price & Company,

utica.

NORTH CAROLINA—
J. B. Ivey & Company,
charlotte.

( )HIO—

The A. Polsky Company,

AKRON.

The Mabley and Carew Co..

cincinnati.
The Higbie Company,

cleveland.
The Morehouse-Martens Company,

colltmbus.
The Rike-Ku.mi.er Co.,

dayton.
The Strouss-Hirschberg Company

youngstown.

OKLAHOMA—
Pollock's,

mcalester.

PENNSYLVANIA-
ERIE Dry Goods Company,

ERIE.

Bowman & Company,

harrisburg.
Joseph Horne Company,

pittsburgh.
Worth's, Inc.,

YORK.

TEXAS—
Levy Brothers Dry Goods Company,

HOUSTON.

The Wolff & Marx Company,
san antonio.

UTAH—
Zion's Co-operative Mercantile Insti-
tion,
salt lake CITY.

WISCONSIN—

Stuart's,
milwaukee.

WEST VIRGINIA-
CO yle & Richardson, Inc.,

CHARLESTON.

Rough, Stained

Hands Need This

New Type Lotion

Ugly hands give others the impression that yon
may lack personal daintiness. Keep them ahvays
flawlessly white and soft with this unique lotion,
called Chamberlain's Lotion. It contains 13
different, imported oils, each for a specific pur-
pose. One clears and whitens red, discolored
hands — removes even nicotine stains. Another,
antiseptic, brings quick, soothing»relief from
chap, soreness, windburn, skin irritations. Still
another refines coarse pores — so softens skin
texture even callouses disappear.
The most abused hands become
smoother, years younger-looking.
Tests prove Chamberlain's Lotion
is absorbed in 37 seconds ! No sticki-
ness. Try it. Prove in 7 days you
can gain soft, white hands and
skin — or money back. Two sizes —
at drug and department stores.

Chamberlain Laboratories, Des Moines, la.

Chamberlain's jCOTIOn

Tired.. Nervous
ftp ^"^ Wife

Wins Back
Pep!

TTER raw nerves
■*■■»• were soothed.
She banished that
"dead tired" feel-
ing. Won new youth-
ful color — restful
nights, active days — all because she rid her system of
bowel-clogging wastes that were sapping her vitality.
NR Tablets (Nature's Remedy) — the mild, safe, all-
vegetable laxative — worked the transformation. Try
it for constipation, biliousness, headaches, dizzy spelb,
colds. See how i^freshed you
feel. At all druggists' — 25c.

FDPFI New fold 4 blue
rntt. m4 Calendar-
Thermometer — samples
NR and Turns. Send

Brand New £ >19'J

^^ Guaranteed by
I REMIMGTON

I Sensationally new low

I price :md easy terms.

^K Standard 4-r..»- kevbonrd—

•^^^ t„llv piaranteed by R-m-

ingion Co. Choice of Colora.

Send No Money, 10 Day Trial

M.I h

lit

,.| .

Standard Size

»nd

International Typewrite- Exchange

Casts of Current Photoplays

Complete for every picture reviewed in this issue

"BEFORE DAWN"— RKO-Radio.— From the
story by Edgar Wallace. Screen play by Garrett
Fort, Marion Dix and Ralph Block. Directed by
Irving Pichel. The cast: Dwight Wilson, Stuart
Erwin; Patricia Merrick, Dorothy Wilson; Dr.
Cornelius, Warner Oland; Merrick, Dudley Digges;
Mallie, Gertrude Hoffman; O'Hara, Oscar Apfel;
Mrs. Marble, Jane Darwell; Joe Valerie, Frank
Reicher.

"BLOOD MONEY"— 20th Century-United
Artists. — From the screen play by Rowland Brown
and Hal Long. Directed by Rowland Brown. The
cast: Bill Bailey, George Bancroft; Elaine Talbert,
Frances Dee; Drury Darling, Chick Chandler; Ruby
Darling, Judith Anderson. Also: Blossom Seeley,
Etienne Girardot, George Rigas. Theresa Harris,
Kathlyn Williams, John Bleifer, Ann Brody, Henry
Lewis, Jr., Sandra Shaw, Henry Kolker, Bradley
Page.

"CHRISTOPHER BEAN"— M-G-M.— From the
play "The Late Christopher Bean" adapted by
Sidney Howard from the play " Prenez Garde a la
Peinture" by Rene Fauchois. Screen play by Sylvia
Thalberg and Laurence E. Johnson. Directed by
Sam Wood. The cast: Abby, Marie Dressier; Dr.
Haggett, Lionel Barrymore; Susan, Helen Mack;
Mrs. Haggett, Beulah Bondi; Warren, Russell
Hardie; Rosen, Jean Hersholt; Davenport, H. B.
Warner; Ada, Helen Shipman; Tallenl, George
Coulouris; Maid, Ellen Lowe.

"COLLEGE COACH"— Warners.— From the
story by Niven Busch and Manuel Seff. Directed by
William A. Wellman. The cast: Phil Sargent, Dick
Powell; Claire Gore, Ann Dvorak; Coach Gore, Pat
O'Brien; Dr. Philip Sargent, Arthur Byron; Buck
Weaver, Lyle Talbot; Bametl, Hugh Herbert; Mat-
thews, Guinn Williams; Petrowski, Nat Pendleton;
Editor, Philip Faversham; Hauser, Charles Wilson;
Spencer Trask, Donald Meek; Otis, Berton Churchill;
Seymour Young, Arthur Hohl; Professor, Harry
Beresford; Glantz, Herman Bing; Holcomb, Joseph
Sauers; Westerman, Phillip Reed.

"CRADLE SONG"— Paramount.— From the
play by Gregorio Martinez Sierra. Screen play by
Marc Connolly and Frank Partos. Directed by
Mitchell Leisen. The cast: Joanna, Dorothea
Wieck; Teresa, Evelyn Venable; The Doctor, Sir Guy
Standing; Prioress, Louise Dresser; Antonio, Kent
Taylor; Marcella, Gertrude Michael; Vicaress,
Georgia Caine; Alberto, Dickie Moore; Sagrario,
Nydia Westman; lnes, Marion Ballou; Mistress of
Novices, Eleanor Wesselhoeft; Christina, Diane
Sinclair; Pepita, Yvonne Pelletier; Tomas, David
Durand; Carmen, Bonita Granville; Sabina, Rosita
Butler; Priest, Mischa Auer; Maria Luccia, Gail
Patrick; Tornera, Gertrude Norman; Mayor, Howard
Lang.

"DANCE, GIRL, DANCE" — Invincible. — From
the story by Robert Ellis. Directed by Frank
Strayer. The cast: Sally, Evalyn Knapp; Valentine,
Alan Dinehart; Claudette, Ada May; Joe, Eddie
Nugent; Lou Kendall, Mae Busch; Cleo, Gloria
Shea; Mozart, George Grandee.

"DER SOHN DER WEISSEN BERGE" ("The
Son of the White Mountains") — Itala Film. — From
the story by Luis Trenker. Directed by Mario
Bonnard. The cast: Turri, Luis Trenker; Coste,
Carl Steiner; Morel, Emmerich Albert; Mary,
Renate Muller; Annie, Maria Solveg.

"DESIGN FOR LIVING"— Paramount.— From
the play by Noel Coward. Screen play by Hen
Hecht. Directed by Ernst Lubitsch. The cast:
Tom Chambers, Fredric March; George Curtis, Gary
Cooper; Gilda Farrell, Miriam Hopkins; Max
Plunketl, Edward Everett Horton; Mr. Douglas,
Franklin Pangborn; Conductor, Emile Chautard;
Lisping Stenographer, Isabel Jewell; Tom's Secre-
tary, Nora Cecil; Cafe Proprietress, Adrienne D'-
Ambricourt; Art Commissioner, Armand Kaliz.

"DUCK SOUP"— Paramount.— From the story
by Bert Kalmar and Harry Ruby. Directed by Leo
McCarey. The cast: Rufus T. Firefly, Groucho
Marx; Chicolini, Chico Marx; Brownie, Harpo Marx;
Bob Rolland, Zeppo Marx; Vera Marcal, Raquel
Torres; Ambassador Trenlino, Louis Calhern; Mrs.
Teasdale, Margaret Dumont; Secretary, Ycrna
Hillie; Agitator, Leonid Kinsky; Zander, Edmund
Breese; Secretary of War, Edwin Maxwell.

"FEMALE"— First National. — 'From the story
by Donald Henderson Clarke. Screen play by
Gene Markey and Kathryn Scola. Directed by
Michael Curtiz. The cast: Alison Drake, Rutii
Chatterton; Jim Thorne, George Brent; Claybourne.
Philip Faversham; Miss Frollungham, Ruth Don-
nelly; Cooper, John Mack Brown; Harriet, Lois
Wilson; Briggs, Gavin Gordon; Fuggy, Huey White;
Delia, Rafaela Ottiano; Jarrat, Walter Walker;
Detective, Charles Wilson; Butler, Edward Cooper;
Footmen, Eric Wilton, Usay O'Davern; Bradley,
Samuel Hinds; Drunk boy. Sterling Holloway;
Pelligrew, Ferdinand Gottschalk.

116

"HAVANA WIDOWS" — First National. —
From the story by Earl Baldwin. Directed by Ray
Enright. The cast: Mae Knight, Joan Blondell;
Sadie Appleby, Glenda Farrell; Deacon Jones, Guy
Kibbee; Bob Jones, Lyle Talbot; Herman Brody,
Allen Jenkins; Duffy, Frank McHugh; Mrs. Jones,
Ruth Donnelly; Mr. Otis, Hobart Cavanaugh; Butch
O'Neill, Ralph Ince; Mullins, George Cooper; Mrs.
Ryan, Maude Eburne; Timberg, Charles Wilson;
Wheelman, Garry Owen.

"HELL AND HIGH WATER"— Paramount —
From the story "Captain Jericho" by Max Miller.
Adapted by Agnes Brand Leahy. Directed by
Grover Jones and William Slavens McNutt. The
cast: Captain Jericho, Richard Aden; Sally Driggs,
Judith Allen; Peck Wealin, Charles Grapewin; Rear
Admiral, Sir Guy Standing; Barney, Robert Knettles;
Mom Wealin, Gertrude Hoffman; Joe Satsanuki, S.
Matsui; Milton J. Bunsey, William Frawley; Bar-
ney's mother, Esther Muir; Japanese Girl, Iris
Yamaoka; Bradley, the Pilot, John Marston; Dance
Hall Manager, Barton MacLane; Interpreter, Mike
Morita; Harbor Master's Clerk, Franklin Parker;
Lieutenent Saunders, Selmer Jackson.

"HOOPLA"— Fox.— From the play "The Bar-
ker" by John Kenyon Nicholson. Screen play by
Bradley King and Joseph Moncure March. Directed
by F'rank Lloyd. The cast: Lou, Clara Bow; Nifty,
Preston Foster; Chris, Richard Cromwell; Hap,
Herbert Mundin; Jerry, James Gleason; Carrie,
Minna Gombell; Colonel Gowdy, Roger Imhof;
Ma Benson, Florence Roberts.

"HOUSE ON 56TH STREET, THE"— Warners.
— From the novel by Joseph Santley. Screen play
by Austin Parker and Sheridan Gibney. Directed by
Robert Florey. The cast: Peggy Martin, Kay Francis;
Blaine, Ricardo Cortez; Monty Van Tyle, Gene
Raymond; Eleanor, Margaret Lindsay; Fiske, John
Halliday; Hunt, Frank McHugh; Dolly, Sheila Terry;
Dr. Wyman, Henry O'Neill; Freddie, Theodore New-
ton; Mrs. Van Tyle, Nella Walker; Curtis, Samuel
Hinds; Girls in sextette, Renee Whitney, Pat Wing,
Helen Barclay, Lorena Layson; Henry, Hardie
Albright; Bonclli, William Boyd.

" INVINSIBLE MAN, THE— Universal.— From
the novel by H. G. Wells. Screen play by R. C.
Sherriff. Directed by James Whale. The cast:
The Invisible One, Claude Rains; Flora Gravity,
Gloria Stuart; Doctor Kemp, William Harrigan;
Doctor Cranley, Henry Travers; Mrs. Hall, Una
O'Connor; Mr. Hall, Forrester Harvey; Chief of
Police, Holmes Herbert; Jaffers, E. E. Clive; Chief
of Detectives, Dudley Digges; Inspector Bird, Harry
Stubbs; Inspector Lane, Donald Stuart; Milly, Merle
Tottenham.

"KING FOR A NIGHT"— Universal.— From
the story by William Anthony McGuire. Screen
play by William Anthony McGuire and Jack O'Don-

Blondes, beware ! You'd better watch
out — here's competition for you !
Shirley Temple is already queen of
Educational's Baby Burlesk troup,
and she's breaking lots of hearts

nell. Directed by Kurt Neumann. The cast:
Bud (Kid) Gloves, Chester Morris; Lillian, Helen
Twelvetrees; Evelyn, Alice White; Douglas, John
Miljan; Reverend Gloves, Grant Mitchell; Hymie,
George E. Stone; John Gloves, George Meeker; Dick,
Frank Albertson; Goofy, Warren Hymer; Merkle,
Harland Tucker; The Champ, Harry Galfund;
Whistler, Clarence Wilson; Dora, Dorothy Granger;
Boy, George Billings; Manny, John Sheehan; McCue,
Wade Boteler; Heavyweight, Maxie Rosenbloom.

"LITTLE WOMEN"— RKO-R\dio.— From the
story by Louisa May Alcott. Screen play by Sarah
Y. Mason and Victor Heerman. Directed by
George Cukor. The cast: Jo, Katharine Hepburn;
Amy, Joan Bennett; Fritz Bhaer, Paul Lukas; Meg,
Frances Dee; Beth, Jean Parker; Aunt March, Edna
May Oliver; Laurie, Douglass Montgomery; Mr.
Laurence, Henry Stephenson; Marmee, Spring
Byington; Mr. March, Samuel Hinds; Hannah,
Mabel Colcord; Brooke, John Davis Lodge; Mamie,
Nydia Westman.

"LONE COWBOY"— Paramount.— From the
screen play by Paul Sloane. Adapted by Agnes
Brand Leahy and bobby Vernon. Directed by Paul
Sloane. The cast: Scooter O'Neal, Jackie Cooper;
Eleanor Jones, Lila Lee; Bill O'Neal, John Wray;
'Dobe Jones, Addison Richards; Jim Weston, Gavin
Gordon; J. J. Baxter, Barton MacLane; Mr. Curran,
J. M. Kerrigan; Mr. Burton, Dell Henderson;
Junkman, Joe Barton; Buck, William LeMaire;
Zeke, Irving Bacon; Marshall, Charles Middleton;
Boarding House Keeper, Lillian Harmer; Postman,
William Robbins.

"MAD GAME, THE"— Fox.— From the story
by William Conselman. Screen play by William
Conselman and Henry Johnson. Directed by Irving
Cummings. The cast: Edward Carson, Spencer
Tracy; Jane Lee, Claire Trevor; Judge Penfield,
Ralph Morgan; Thomas Penfield, Howard Lally;
Cliopper Allen, J. Carrol Naish; William Bennett,
John Miljan; Butts McGee, Matt McHugh; Marilyn
Kirk, Kathleen Burke; Lila Penfield, Mary Mason;
Warden, Willard Robertson; Doctor, John Davidson;
Lou, Paul Fix; Mike, Jerry Devine.

"MY LIPS BETR\Y"— Fox.— From the play
"Der Komet" by Attila Orbok. Screen play by
Hans Kraly and Jane Storm. Directed by John
Blystone. The cast: Lili, Lilian Harvey; King
Rupert, John Boles; Stigmat, El Brendel; Queen
Mother, Irene Browne; Mama Watcheck, Maude
Eburne; De Conti, Henry Stephenson; Weininger,
Herman Bing.

"MY WOMAN" — Columbl\. — F~rom the story by
Brian Marlow. Directed by Victor Schertzinger.
The cast: Connie, Helen Twelvetrees; Bradley, Victor
Jory; Chick, Wallace Ford; Muriel, Claire Dodd;
Butler, Warren Hymer; Pop Riley, Raymond Brown;
Miller, Hobart Cavanaugh; Agent, Charles Levison;
McCluskey, Ralph Freud; Cargle, William Jeffrey;
Treech, Lester Crawford; Webster, Boothe Howard;
Studio Manager, Edwin Stanley; Asst. Manager,
Lorin Raker; Agent, Harry Holman.

"OLSEN'S BIG MOMENT"— Fox.— From the
story by George Marshall. Screen play by Henry
Johnson and James Tynan. Directed by Malcolm
St. Clair. The cast: Knute Olsen, El Brendel;
Robert Brewster III, Walter Catlett; Jane Van Allen,
Barbara Weeks; Virginia West, Susan Fleming;
Harry Smith, John Arledge; Mrs. Van Allen, Maidel
Turner; Joe "Monk" West, Edward Pawley; Danny
Reynolds, Joseph Sauers.

"ONLY YESTERDAY"— Universal. — From the
story by Frederick Lewis Allen. Screen play by
Arthur Richman and George O'Neill. Directed by
John M. Stahl. The cast: Mary Lane, Margaret
Sullavan; Jim Emerson, John Boles; Julia Warren,
Billie Burke; Bob, Reginald Denny; Jim, Jr., Jimmy
Butler; Leona, Edna May Oliver; Phyllis Emerson,
Benita Hume; Dave Reynolds, George Meeker;
Deborah, June Clyde; Amy, Marie Prevost; Mr.
Lane, Oscar Apfel; Mrs. Lane, Jane Darwell; Bob
Lane, Tom Conlon; Goodhcarl, Berton Churchill;
Barnard, Onslow Stevens; Tom, Franklin Pangborn;
Barnes, Walter Catlett; Lelitia, Noel Francis;
Scott Hayes, Bramwell F'letcher; Jerry, Barry Nor-
ton; Burton, Arthur Hoyt; Lucy, Natalie Moorhead;
Margot, Joyce Compton; Mrs. Vincent, Betty Blythe;
Charlie Smith, Grady Sutton; Eleanor, Ruth Clifford;
Sally, Dorothy Granger; Pally, Geneva Mitchell;
Rcna, Dorothy Christy; A Lesbian, Jean Sorel;
Miles, Robert McWade; Ruth, Lucille Powers;
Graves, Crauford Kent; Harper, Ferdinand Munier;
Toodie, Gay Seabrook; Grace, Marion Byron; Belly,
Jean Hart; Lee, Leon Waycoff; Billy, James Flavin;
Mclntyre, Warren Stokes; Hugh, Hugh Enfield;
Helen, Mabel Marden; May, Sheila Mannors;
Butler, Edgar Norton; Second Butler, Sidney Bracy;
Preston, Herbert Corthell; Ethel, Vivian Oakland;
Rex, Bert Roach; Porter, Deacon McDaniels; Abby,
Louise Beavers.

"POLICE CAR 17" — Columbia.— From the
story by Lambert Hillyer. Directed by Lambert
Hillyer. The cast: Tim Conlon, Tim McCoy; Helen
Regan, Evalyn Knapp; Dan Regan, Wallis Clark;

Photoplay Magazine ior January, 1934

Bumps O'Neill, Ward Bond; Johnny Davis, Harold
Hubcr; "Big Bill" Standish, Edwin Maxwell; Harry.
Charles West; Ace Boyle, Jack Long; Captain liar!.
DeWitt Jennings.

"PRIZEFIGHTER AND THE LADY. THE"—
M-G-M. — From the screen play by John Lee Mahin,
Jr. and John Median. Directed by \Y. S. Van Dyke.
The cast: Belle, Myroa Loy; Steve, Max Baer;
Camera, Primo Camera; Promoter. Jack Dempsey;
Professor. Walter Huston; Willie Ryan, Otto Kruger;
Bugsie, Vince Barnett; Adopted Son. Robert McWade;
Linda, Muriel Evans; Cabaret Girl, Jean Howard.

"QUATORZE JUILLET" ("July 14")— Protex
Pictures. — From the story by Rene Clair. Directed
by Rene Clair. The east: Anna, Annabella; 1'ola,
Pola Illery, Jean. Georges Rigaud; Charles, Raymond
Amos; M, Imaque, Paul Olivier; Fernand, Thorny
Bourdelle; Raymond, Raymond Corday.

"RIDER OF JUSTICE"— Universal.— From the

story by Robert Qiiifilcy. Directed by Alan James.
The cast: Ken Lame. Ken Maynard; Ray 1
Cecilia Parker; Sam Burkett, Hooper At(
Bogan, Walter Rockwell; Hank Rivers. Jack Rock-
well; Denver, Ed Brady; Imposter, Fred MacKaye;
Red Hogan, Bill Dyer; Sheriff, Jack Richardson;
Jim Lance, Ed Coxen; Jones, William Gould; 1
Francis Ford; Postmaster, Late McKee; Tarzan,
Tarzan.

"SON OF A SAILOR"— First National.— Fmin
the screen play by Al Cohn and PaulGerrard Smith.
Directed by Lloyd Bacon. The cast: Handsome
Callahan, Joe E. Brown; Helen, Jean Muir; The
Baroness, Thelma Todd; Duke. Johnnj Mai k Brown;
Gaga, Frank McHugh; Armstrong, George Black-
wood; Kramer, Walter Kramer; Williams, Kenneth
Thomson; Farnsworth, Samuel Hinds; Vincent,
Arthur Vinton; Lee. George Irving; Lieut. Reel.
John Marston; Sailor Johnson, Garry Owen; Slug,
Joe Sauers; Blanding, Clay Clement; Capl. /
Purnell Pratt; Genevieve, Sheila Terry.

"SPECIAL INVESTIGATOR"— Universal.—

From the screen play by Warren B. Duff and Gordon
Kahn. Directed by Edwin L. Marin. The cast:
Scolty Graham, Onslow Stevens; Lynn Aston. Wynne
Gibson; Inspector Thomas, Alan Dinehart; Sergeant
Melody, William Collier, Sr. ; Sam Collins, Warren
Hymer; Lubeck, Edward Van Sloan; Willie, John
Wray; Miller, Skeets Gallagher; Coslello, J. Farrell
MacDonald; Rodgers, Harold Huber; Weems, Harry
Seymour; Cliff, Leon Waycoff; DeCobra, Mischa
Auer; Sam's Wife, Doris Canneld; Gerard, Wade
Boteler; Logan, Harry Woods; U'Shea, James Flavin;
Wilson, Arthur Hoyt; Garage Man, Sam McDaniels.

"TAKE A CHANCE"— Paramount. — From the
story and screen play by Lawrence Schwab, Buddy
De Sylva and Monte Brice. Directed by Lawrence
Schwab and Monte Brice. The cast: Duke, James
Dunn; Louie, Cliff Edwards; Toni, June Knight;
Wanda, Lillian Roth; Kenneth Raleigh, Charles
"Buddy" Rogers; Thelma, Lilian Bond; Andrew
Raleigh, Charles Richmond; Consuclo Raleigh,
Dorothy Lee; Mike Caruso, Robert Gleckler; Miss
Jersey City, Lona Andre.

"VINEGAR TREE, THE"— M-G-M.— From
the play by Paul Osborn. Screen play by Bella
and Samuel Spewack. Directed by Harry Beau-
mont. The cast: Augustus, Lionel Barrymore;
Laura, Alice Brady; Max, Conway Tearle; Winifred,
Katherine Alexander; Leone, Man' Carlisle; Geoffry,
William Janney; Butler, Halliwell Hobbes.

"WHITE WOMAN"— Paramount.— From the
story by Norman Reilly Raine and Frank- Butler.
Screen play by Samuel Hoffenstein and Gladys
Lehman. Directed by Stuart Walker. The cast:
Judith Denning, Carole Lombard; Horace I'rin,
Charles Laughton; Ballister, Charles Bickford;
David von Eltz, Kent Taylor; jakey, Percy Kilbride;
Hambley, James Bell; Fenlon, James B. Middleton;
Chisholm, Claude King; Mrs. Chisholm, Ethel
Grimes; Vaegi, Jimmie Dime; Connors, Marc
Lawrence; Native Chief No. J, Noble Johnson;
Native Chief No. 2, Greg Whitespear.

Heart Throb

The newcomer cries a good deal
the first week we take her to our
hearts and soon, with tender
sympathy, we have her smiling. How
their faces light when we say,
"Really, the time flies. We have
movies three nights weekly."

But won't you give us more
"happy endings"? In reality we see
much sorrow and tears, when movie
night comes we want to live and be
happy in the golden hours of make
believe !

Our only joy is the movies, for
we are patients in a tuberculosis
sanatorium.

Mrs. I. G., State Sanatorium, Md.

WORLD PREMIERE

■ffoUywoor]

STAIR
ILAMP

-I

1X1

Choose Your Favorite!
SIXTEEN FAMOUS STARS

Famous Hollywood sculptor has modeled complete lifelike
figure of your favorite movie star tor stunning new tabic, desk or
radio lamp. Ideal tor gift or bridge prize. Switch on light and
figure seems almost alive in natural highlighted pose. Your choice

of G.irbo, Craw lord, Harlow, Gable, Chevalier, Mae West, Laurel,
Hardy, Will Rogers, Dressier, W Beery, Jackie Cooper, Lupe
Velez, Joe E. Brown, Charles Chaplin. Also fine model oi Presi-
dent Roosevelt

SEND NO MONEY. Write today for Hollywood's latest
cra:e. 14 inches tall. In rich antiqued finish. Wired complete w ith
Art-Parchment Shade. Useful as well as ornamental. Ju^t send
name and address; also name of star Upon delivery pav postman
$2.50 plus few cents for c. o. d charges. Or, sent postpaid when
cash accompanies order Write today to BILL DAVIS, INC..
Dept. E. 1265 North Vermont Avenue, Hollywood California.

Agents and Distributors Wanted

Make Your Own Waves
for less than lc

Save money on your beauty
bills ! With the Exce'lla
Waver you can have a perfect
hair dress over night. The
most simple — practical — eco-
nomical device ever invented.
Easy — convenient to use. Fits
like a cap. Sets your wave
while you sleep. Can be used
indefinitely. Eliminates costly
methods. Order an Excella

and be convinced. Sent postpaid for

coin or stamps.

hair w
Waver

50c in

EXCELLA PRODUCTS
220 High St. CLEVELAND, OHIO

For a g,ood

XMAS
SUGGESTION

see pag>e 86

What $2!£ Will Bring You

More than a thousand pictures of photoplayers and illus-
trations of their work and pastime.

Scores of interesting articles about the people you see on
the screen.

Splendidly written short stories, some of which you will
see acted at your moving picture theater.
Brief reviews with the casts of current photoplays.
The truth and nothing but the truth, about motion pic-
tures, the stars, and the industry.

You have read this issue of Photoplay, so there is no necessity for tell-
ing you that it is one of the most superbly illustrated, the best written
and most attractively printed magazines published today — and alone
in its field of motion pictures.

Send a Money Order or Check for $2.50 if inthe U. S., its dependencies, Mexico, Cuba
{$3,50 Canada and foreign countries), for the next twelve issues, addressed to

PHOTOPLAY MAGAZINE, Dept. 1-A, 919 No. Michigan Ave., Chicago

Cal York's Monthly Broadcast from Hollywood

[ CONTINUED FROM PAGE 49

Biide and groom: Mr. and Mrs. Marty Malone. You know her better as
Polly Moran. The photographer caught them sitting in a corner at the
cocktail party that Nelson Eddy gave in honor of the happy newlyweds

So Paramount provided a flamingo and
guinea pigs for Charlotte Henry's game be-
fore the cameras.

The flamingo, not caring at all to join in the
fun, bit Charlotte, whose hands and arms soon
became covered with a rash.

TT'S been a busy year for Mae West.

Since last spring Mae has written her two
screen plays, "She Done Him Wrong" and
"I'm No Angel," acted in them and practically
supervised them both, wrote "The Constant
Sinner," a novelization of her famous "Dia-
mond Lil," and practically completed her
humorous book, "How To Misbehave."

And in all this time she has given out two
hundred interviews, most of which were made
unique by the West flashing wit.

Not bad, really.

'"TPHEY call my voice a low bari-
tone with a husky quaver," ex-
plains Bing Crosby.

"The doctors have told me that
my particular brand of singing is due
to a little unobtrusive growth be-
tween my vocal cords.

"If I ever lose it I'll probably be-
come a hog-caller."

Maybe the hogs wouldn't mind !

■""THE day Carole Lombard moved into her
new house, she came down with a relapse of
the flu.

The painters hadn't entirely moved out of
the place, and Carole says the odor was so in-
tense she had painter's colic added to her
other troubles.

TN the September issue of PHOTOPLAY we
reported that Mr. George Arliss had been
treated by physicians with insulin. Mr. Arliss
advises us that there is no foundation for this
statement as he has never used insulin and
has never been treated for any disease for
which insulin might be prescribed.

We regret having published this statement
and herewith tender Mr. Arliss our apolo-
gies.

A LTHOUGH the rumor that Greta Garbo
■* •■would marry her director, Rouben Ma-
moulian, when "Queen Christina" was finished
has been quiescent for a while, Mamoulian
would not sign the lease for his new house in
Beverly Hills until he had taken Greta to
see it.

'T^HE ex-wife of a very successful
■*■ ex-athlete who lately has been
doing all right in pictures says:

"Aw, he was all right until his body
went to his head."

\7INCE BARNETT will have to look to
his ribbing laurels in Hollywood with
Florence Desmond in town.

Florence is the imitatress who created a sen-
sation with her phonograph record, "The
Hollywood Party" and came right out to
Hollywood to do her stuff for the microphones.

She's been the sensation of more actual
Hollywood parties, and, not content with that,
has started calling up on the phone, pretending
to be Garbo, or Crawford, or ZaSu Pitts,

118

making engagements or dishing out veiled in-
sults until there has been much confusion
created and many friendships threatened.

Well, the female is always more deadly
than the male!

r^LAREMORE, Okla., which boasts that
^^Rochelle Hudson also was born there, now
has a confectionery called the "Rochelle Hud-
son Shoppe." And how about a "Ye Olde
Will Rogers Horse Corral and Chewing Gum
Shoppe"?

TT must be the Max Baer influence — heaven
forbid — but Clark Gable, Jack Conway,
Seymour Felix, Douglas Shearer and Stuart
Erwin have joined a boxing class at Metro-
Goldwyn-Mayer with Mike Cantwell, Baer's
trainer, as their mentor.

"LTAROLD LLOYD, JR., going on
three years old and called Bud
by everyone, was on his way to a
party and, as usual, the car was
stopped at the main gate of the estate
to permit Bud to salute Bob Lewis,
the guardian.

"Well, Bud," said Bob, "you're
going to have a lot of ice cream and
candy?"

"Yes," declared Bud, firmly, "and
cake, too."

"DEING up on your "Alice in Wonderland,"
you will remember they used live flamingoes
for croquet mallets and guinea pigs for balls.

Don English

Three guesses! And we'll give you
odds you're wrong! It's Claudette
Colbert, make-up-less and plainly
gowned for her role of the school-
marm in "Four Frightened People"

HOLLYWOOD IFASIM IONS <5f « «>« excUveL, ky JLcLcluti, XoL & Co.

AT THE RIGHT: After
the making of the
new Columbia picture,
"Master of Men, "pop-
ular Fay Wray became
so attached to this
exquisite dinner frock
that she purchased it
for her personal ward-
robe! The gown, charm-
ing because of its slim,
fitted tunic, is only
one of the "Holly-
wood Fashions" selec-
ted by Seymour, stylist
for Photoplay Maga-
zine...now on display!

On Jjalilmore ... as in Boston ... as in
Cleveland ... as in Detroit . . ."Hollywood
Fashions" are sold in stores known as
"smart" (Page 115). Only in stores of fash-
ion leadership will you find faithful copies
of the authentic motion picture costumes
pictured in PHOTOPLAY. (See pages 61-66).

IPlMQTQIPILAY MAGAZINE

919 North Michigan Avenue Chicago, Illinois

In Association With WAKEFIELD & O'CONNOR, Inc.

II "Hollywood Fashions" are not sold in your community,
send Photoplay Magazine your name and address and men-
tion department store Irom which you buy ready-to-wear

/%%*.

If your home is in Baltimore,
visit the interesting store
of Hochschild, Kohn &
Co. in December! For in
the "Hollywood Fashions
Corner," a modernistic
setting recently added to
the the Third Floor Apparel
Shops, are exact copies of
Fay Wray's fasinating tunic
gown . . . as well as other
"Hollywood Fashions," for
January ... no less lovely!

Ht:m

$»i"i

/fe^1

...to me they're MILDER
...to me they TASTE BETTER

PHO

LAY

CENTS

ents in Canada

FEBRUARY

,#**

KAY
FRANCIS

t i

Hollywood

youthRomance

sis

LASKY S,

***** „ ^" *«, °^- o. -^

***** , -^ ~ 4. - »** ^ ^ 4"*

^ he ///, S - - rt 9e°^

**& , ry /a r

^kfc.

Photoplay Magazine for February, 1934

Even his best
friend wouldn't

SAVE HIM!

(Mostly boys in this picture, but the moral is for girls) WANT OTHERS TO LIKE YOU?

Cjet rid of halitosis with

LISTERINE

Deodorizes hours longer

Not for love or gold would any-
body "cut in" and take little Enid
off his hands. They were "on to
her." Even his best friend, broke
as only a college boy can be, had
scorned his secret proffer of five
dollars. Enid was his — all his —
until the band played "Home,
Sweet Home." The whole thing
was pretty awful. But it was worse
for Enid . . . For by the cruel
grapevine, everyone in the room
knew what her trouble was . . .
knew why no one wanted to dance
with her . . . why no one would
ever want to dance with her ....

How's your breath today?

Halitosis (unpleasant breath) is
the unforgivable social fault. Yet
anybody, you included, is likely to
have it. Ninety per cent of cases,
say dental authorities, are caused
by fermentation of tiny food par-
ticles skipped by the tooth brush.
Don't guess about your breath.
Don't risk offending others need-
lessly. Use Listerine and your
breath will be pure, wholesome,
and beyond reproach. Simply
rinse the mouth with it every
morning and every night, and be-

tween times before social or business engagements.
Listerine instantly conquers odors that ordinary
mouth washes cannot hide in 12 hours. It imme-
diately halts fermentation, the cause of odors, then
gets rid of the odors themselves. When you want
quick action and lasting deodorant effect, use only
Listerine, the safe antiseptic. Lambert Pharmacal
Company, St. Louis, Mo.

NOW AT NEW LOW PRICES

Photoplay Magazine for February, 1934

GflRI

TRiumPHRnT RETimn

TO THE SCREEfl

J*\

GRETA GARBO in "Queen
Christina" with John
Gilbert, Ian Keith, Lewis
Stone, Elizabeth Young,
A Rouben Mamoulian
Production, Associate
Producer, Walter Wanger

The Garbo thrill is b
in your life! The Garbo
beauty, the soul-stab-
bing allure of the great-
est screen personality of
all time I Millions have
waited, and they will
be joyful that her first
glorious entertainment
"QUEEN CHRISTINA",
a drama of exquisite
passions, is unquestion-
ably the most romantic
story in which she has
ever appeared.

METRO • GOLDWYN • MAYER

OTO

The World's Leading Motion Picture Publication

Vol. XLV No. 3

KATHRYN DOUGHERTY, Publisher

February, 1934

Winners of Photoplay
Magazine Gold Medal for
the best picture of the year

1920

"HUMORESQUE"

1921

"TOL'ABLE DAVID"

1922

"ROBIN HOOD"

1923

"THE COVERED WAGON"
"ABRAHAM" LINCOLN"

1925

"THE BIG PARADE"

1926

"BEAU GESTE"

1927

"7th HEAVEN"

1928

"FOUR SONS"

1929

"DISRAELI"

1930

"ALL QUIET ON THE
WESTERN FRONT"

1931

"CIMARRON"
i'SMILIN' THROUGH"

Information and
Service

Brickbats and Bouquets ... 8

Questions and Answers ... 90

Hol'ywood Menus 102

Addresses of the Stars . . . 120

Hollywood Fashions .... 123

Casts of Current Photoplays 124

High-Lights of This Issue

Close-Ups and Long-Shots

Undraping Hollywood

Sylvia Gives Clara Bow Some Timely Advice

Last Round-Up

Cal York's Monthly Broadcast from Hollywood

The Passing Show of '33

Everybody's Stooging Now ....
Seymour — Photoplay's Style Authority
Who's in the Dog House Now? ....
And Here We See the Real "Little Women"

Drums in the Jungle

Photoplay's Hollywood Beauty Shop
Screen Memories from Photoplay .

Kathryx Dougherty

Ruth Rankin

Syivia

KlRTLEY BASKETTE

Sara Hamilton

KlRTLEY BASKETTE

Ruth Rankin

Virginia Maxwell

Henry A. Phillips

Carolyn Van Wycx

25
28
34
38
46
.50
52
61
72
74
78
81
121

Photoplay's Famous Reviews

Brief Reviews of Current Pictures 6

The Shadow Stage 56

Personalities

Esther Ralston 30

The Power Behind the Hepburn Throne . . Wilbur Morse, Jr. 31

" Can a Man Love Two Women at the Same Time? " Virginia Maxwell 32

I Meet Miss Crawford Frazier Hunt 36

John, the Great Charles Darntox 45

Why I Quit Hollywood

By Douglas Fairbanks, Jr., lx ax Interview with Kathlyx Hatdex 54

Clara Bow 55

Back of the West Front Dana Rush 60

Two "Toughs" from the Chorus Ben Maddox 69

Working Girl Kenneth Baker 70

Al Jolson 71

Madge Evans 76

The Lady Who Laughed at Hollywood . . Wilbur Morse, Jr. 77
On the Cover — Kay Francis — Painted by Earl Christy

Published monthly by the Photoplay Publishing Co.
Publishing Office, 919 N. Michigan Ave., Chicago, 111. Editorial Offices, 221 W. 57th St., New York City

The International News Company, Ltd.. Distributing Agents, 5 Bream's Building, London, England

Kathryn Dougherty,

President and Treasurer

John S. Tuomey, Vice-President Evelyn McEvilly, Secretary

Yearly Subscription: $2.50 in the United States, its dependencies, Mexico and Cuba; $3.50 Canada; $3.50 for foreign countries. Remittances

should be made by check, or postal or express money order. Caution — Do not subscribe through persons unknown to you.

Entered as second-class matter April 24, 1912, at the Postoffice at Chicago, 111., under the Act of March 3, 1879.

Consult this pic-
ture shopping
guide and save
your time, money
and disposition

Brief R

eviews o

Current 1 ictures

•+C Indicates photoplay was named as one of the best upon its month of review

ACE OF ACES— RKO-Radio.— Richard Dix in a
not-so-hot wartime aviation story. (Dec.)

• ADORABLE — Fox. — Janet Gaynor in a gay.
tuneful puff-ball about a princess in love with
an officer of her army. Henry Garat's the officer —
and he's a hit! Don't miss it. (.Aug.)

AFTER TONIGHT— RKO-Radio.— Connie Ben-
nett's a Russian spy in love with Austrian officer
Gilbert Roland; fast, exciting. (Dec.)

AGGIE APPLEBY, MAKER OF MEN— RKO-
Radio. — Country-boy Charles Farrell is made into a
tough mug by bad-lady Wynne Gibson. Bill Gargan.
You'll laugh and like it. (Dec.)

ANN CARVER'S PROFESSION— Columbia —
Fay Wray shows her competence aside from horror
stuff, as a successful lawyer married to Gene Ray-
mond. Gene gets into trouble; Fay must save him.
Acceptable entertainment. (Sept.)

• ANN VICKERS— RKO-Radio.— Irene Dunne
in a finely acted tale of a social worker who
loves but doesn't marry. Walter Huston, Bruce
Cabot. Strictly for sophisticates. (Dec.)

ARIZONA TO BROADWAY— Fox— Joan Ben-
nett, Jimmie Dunn, and a good cast, wasted in a
would-be adventure varn about slicking the slickers.
(Sept.)

AVENGER, THE— Monogram.— Adrienne Ames
and Ralph Forbes wasted on this one. (Dec.)

BEAUTY FOR SALE— M-G-M.— An amusing
tale about the troubles of girls who work in a beauty
shop. Una Merkcl, Alice- Brady, Madge Evans,
Heclda Hopper, others. (Nov.)

BED OF ROSES — RKO-Radio. — Ex-reform
schoolgirls Connie Bennett and Pert Kelton out
to beat life. Not for kiddies. (.4 ug.)

BEFORE DAWN— RKO-Radio— Dorothy Wilson,
a spiritualist, tries to help detective Stuart Erwin
solve a murder mystery — in a haunted house! Not
for the kiddies. (Jan.)

BELOW THE SEA— Columbia.— A Fay Wray
thriller; caught in a diving bell on a deep-seas ex-
pedition this time. Diver Ralph Bellamy to the
rescue. Good underseas shots and good fun. (Aug.)

• BERKELEY SQUARE— Fox.— As subtly
done as " Smilin' Through"; Leslie Howard
thrown back among his 18th century ancestors.
Heather Angel. (Sept.)

BEST OF ENEMIES— Fox.— No great comeback
for Buddy Rogers; he and Marian Nixon reconcile
quarreling papas Frank Morgan and Joseph Caw-
thorn. (Sept.)

BIG BRAIN, THE— RKO-Radio.— Clever and
fast, except in the climax. George E. Stone climbs
from barber to phony stock magnate. Reginald
Owen, Fay Wray. (Aug.)

BIG EXECUTIVE— Paramount.— Ricardo Cor-
tez. Richard Bennett, Elizabeth Young, wasted in
another of these stock market tales. Weak story.
(Oct.)

BITTER SWEET— United Artists.— A Britisli
musical, about a woman musician who lives on after
her husband was killed defending her honor. It could
have been stronger. (Nov.)

BLARNEY KISS, THE— British & Dominions-
British restraint takes zip from this tale of an Irish-
man who kisses the Blarney Stone, and then has great
adventures in London. Well acted. (A" or.)

• BLONDE BOMBSHELL. THE— M-G-M —
(Reviewed under the title "Bombshell.") Jean
Harlow superb in an uproarious comedy of Hollywood
life. Press-agent Lee Tracy makes her the hot
"Bombshell "; she wants to lead the simple life. (Dec.)

BLOOD MONEY— 20th Century-United Artists.
— Underworld bail bondsman George Bancroft falls
in love with pretty Frances Dee and deserts his
izangster friends who made him. Good suspense.
(Jan.)

FASHIONS

No man can escape them
and no woman wants to.
You'll find this issue of

Photoplay

full of news about

forthcoming styles

and fashions.

BRIEF MOMENT— Columbia.— Night club
singer Carole Lombard marries playboy Gene Ray-
mond to reform him. It has snap and speed. (Nov.)

BROADWAY THRU A KEYHOLE— 20th Cen-
tury-United Artists. — Walter Winchell's melodrama
of Gay White Way night life. Entertaining. (Dec.)

• BROADWAY TO HOLLYWOOD— M-G-M.
Frank Morgan, Alice Brady, others, in a finely-
done life story of two vaudeville hoofers. No thrills,
but supreme artistry. (A'oii.)

BROKEN DREAMS — Monogram. — Buster
Phelps shows how a little child can lead them; it's
slightly hokey. (Dec.)

BUREAU OF MISSING PERSONS— First Na-
tional.— Good, stirring detective work by hard-boiled
Pat O'Brien, directed by chief Lewis Stone. Bette
Davis. (Nov.)

CALLED ON ACCOUNT OF DARKNESS—

Bryan Foy Prod. — This one has the themes, but not
the punch, of some good baseball pictures. (Aug.)

CAPTURED!— Warners.— Leslie Howard, Doug
Fairbanks, Jr., captured aviators held by prison
commander Paul Lukas. Fine acting; weak plot.
(Sept.)

CHANCE AT HEAVEN— RKO-Radio.— "Poor
but noble" Ginger Rogers and rich Marian Nixon
want Joel McCrea. Excellent playing makes this old
plot highly appealing. (Dec.)

CHARLIE CHAN'S GREATEST CASE— Fox.

— Warner Oland in another delightful tale about the
fat Chinese detective, and a double murder. Heather
Angel. (Nov.)

CHEATING BLONDES— Equitable Pictures —
A would-be murder mystery and sexer; it's neither.
Thelma Todd. (Aug.)

CHIEF, THE— M-G-M.— Ed Wynn in a filmful of
his nonsense that's good at times and at others not so
good. (Dec.)

CHRISTOPHER BEAN (Also released as "Her
Sweetheart") — M-G-M. — Marie Dressier, Doc
Lionel Barrymore's maid, gives you plenty of laughs
when she helps daughter Helen Mack elope with
Russell Hardie, much to the annoyance of Beulah
Bondi, doctor's wife. See it. (Jan.)

COCKTAIL HOUR— Columbia.— Bebe Daniels,
scorning "steady" Randolph Scott, tries Europe
and a fling at "free" life. Entertaining, if not out-
standing. (Aug.)

COLLEGE COACH— Warners.— Football as it
is played and won by coach Pat O'Brien who buys
talent to win at all costs, while Ann Dvorak, his
neglected wife, finds romance with Lyle Talbot,
football hero. Fast moving. (Jan.)

COLLEGE HUMOR— Paramount.— Regulation
movie college life. Jack Oakie as hero. Bing Crosby;
Burns and Allen, Richard Arlen, Mary Kornman,
good enough. (Sept.)

COUGAR, THE KING KILLER— Sidney Snow
Prod. — Life as the official panther catcher for the
State of California; good animal stuff. (Aug.)

CRADLE SONG — Paramount.— Just as charm-
ing is Dorothea Wieck in this her first American
picture as she was in "Maedchen in Uniform."
The beautiful story of a nun who showers mother-
love on a foundling. (Jan.)

DANCE, GIRL, DANCE— Invincible.— Dancer
Evalyn Knapp can't get along with vaudeville
partner-husband Edward Nugent. But when she
clicks in a night club, they make up. Entertaining.
(Jan.)

DANGEROUS CROSSROADS— Columbia —

Chic Sale does the locomotive engineer in a railroad
thriller. For confirmed hokum addicts and Chic
Sale's followers. (Sept.)

DAS LOCKENDE ZIEL (THE GOLDEN

GOAL)— Richard Tauber Tonfilm Prod.— Richard
Tauber, as village choir singer who attains grand
opera fame. His singing is superb. English captions.
(Sept.)

DAY OF RECKONING, THE— M-G-M.—
Richard Dix, Madge Evans, Conway Tearle, below
par in an ancient tale of an embezzling cashier and a
double-crossing friend. (Dec.)

DELUGE — RKO-Radio.— Earthquakes, tidal
waves, the end of the world provide the thrills here.
Cast and story alike dwarfed by the catastrophes.
( Nov.)

[ PLEASE TURN TO PAGE 10 ]

Photoplay Magazine for February, 1934

AL JOLSON KAY FRANCIS

DICK POWELL DOLORES DEL RIO

FIFID'ORSAY RICARDO CORTEZ

GUY KIBBEE HUGH HERBERT

RUTH DONNELLY ROBERT BARRAT

MERNA KENNEDY HENRY KOLKER

WONDER

As new as the New Year is this latest
musical sensation from Warner Bros.!
Hailed by six nations as one of the most
novel of all stage hits, now at last it
comes to the screen, bringing with it an
utterly different conception of pictures
with music! All the flash and glamor of
"Gold Diggers" and "Footlight Parade",
pbs scores of surprise features! Your
theatre will announce it soon as
its most important attraction in years!

Brilliant New Songs
by "42nd Street's"
Famous Com posers-
AL DUBIN and
HARRY WARREN
A First Nat'l Picture

1 he Audi

lence

lalks Back

Those "Wild Boys of the Road" have touched the hearts of many readers. "How
can these young children be re-claimed ? How will America solve this problem ?"

THE $25 LETTER

I think that moving pictures have been
responsible for the good behavior of thousands
of children. There is no greater incentive to
a child than to be told that he may go to
"the movies," if he is good.

How often I have heard mothers say,
"Jimmie, if you'll take care of the baby after
school every day, I'll take you to the movies
Friday night." Or by way of stepping up
a child's rating in school, the father will re-
mark with a knowing wink, "If your report
card is good this month you may go and see
that picture you were talking about."

And they do learn how to behave! What
a lesson in the observance of society manners.
The only chance some children have to learn
how to act properly.

Mary Belle Walley, Butler, N. J.

LEE TRACY, old boy, you are the
big news of the month! And pop-
ular! Scores of letters have poured
into PHOTOPLAY, demanding that
you be reinstated, forthwith, into
your stellar standing.

It takes a kick like that to test the
loyalty of your screen followers. And
they are loyal, down to the last man —
and the last tvoinan, too.

We haven't room for all the letters
defending you, Lee, but three typical
ones tell the story.

Nominations for Hollywood's
"Ideal Couple" are coming fast.
Movie-goers certainly know marital
happiness when they see it. The
hunt is on for others besides those
named in this month's Brickbats and
Bouquets. What's your nomination?

THE $10 LETTER

Recent newsreels have seemed to be excep-
tionally good, certainly far better from the
standpoint of photography and imagination
than the average regular run feature film.
Yet while actors and actresses are spread all
over the newspapers and theater lobbies, one
seldom sees an advertisement for a movie talk
by Mr. Roosevelt or Mr. Litvinov. And as
for action, the Pennsylvania coal strikes, the
Cuban revolutions, the recent lynchings and
National Guard maneuvers are far more excit-
ing than the speediest Western or the hottest
passion film.

My point is simply this: More and better
advertising of newsreels would bring money
to the box-office.

Howard Leonard, Asheville, N. C.

THE $5 LETTER

We hear much talk about "reality." But
do we really want reality on the screen — the
reality eighty per cent of us know? I love
every inch of my home, but I have so much
reality in my daily life that when I "step out"
of an evening, I want to step into the land of
make-believe.

I want to live in dreamland for a while. I
want to be made love to by Gary Cooper and
Fredric March, and imagine / have the win-
someness of Shearer, the sophistication of
Dietrich, the lure of Loy, the appeal of Craw-
ford— that I'm marrying a prince, that I live
in just such a beautiful house.

Don't we all?

Anna Robinson, Tucson, Ariz.

THE CASE OF LEE TRACY

Hollywood fair-weather friendship reached a
new high when Lee Tracy was fired.

I am sure there are thousands of Tracy
devotees who feel as I do — that his off-screen
behavior has no effect whatsoever on the
excellence of his pictures or on the enjoyment
of them.

His is the most exhilarating personality we
have ever had; to see his pictures is the best
tonic in the world. We just can't lose him
from the screen! Photoplay, why not
"Shoulder Arms" in his behalf?

And to M-G-M I say: "If you didn't have
Garbo and Gable, I'd never see another of
your pictures, so 'elp me."

A. C. Miller, Philadelphia, Penna.

I have just read of Lee Tracy's dismissal
from M-G-M due to a certain unfortunate
incident that happened recently in Mexico.
I am not sure how much truth can be attached
to the story, as facts concerning the film
world are often distorted in European news-
papers.

Lee has gained his vast army of followers
by portraying characters that are anything
but angelic, so his admirers are hardly inclined
to worry if he proves himself not quite a
saint off-screen. Tracy is unique, for sheer
entertainment value he is unsurpassed, and
while he continues to give us those dynamic,
[ please turn to page 12 ]

Photoplay Magazine for February, 1934

[GOOD NUMBERS,

"FOUR FRIGHTENED PEOPLE"

Four frightened people fleeing into a tropical
jungle to escape from a plague-ridden ship . . .
shedding their good manners with their clothes
. . . casting civilization aside, being once more,
"Male and Female." The people— Claudette
Colbert, Herbert Marshall, Mary Boland,
William Gargan. The director— Cecil B. DeMille.

Six riotous comedians, out for fun ... six lar-
cenous picture -snatchers, stealing laughs from
each other, six grand mirthmakers in a story
made for mirth. The six— Charlie Ruggles and
Mary Boland, W. C. Fields and Alison Skipworth,
George Burns and Gracie Allen. The director
Leo McCarey.

"EIGHT GIRLS IN A BOAT"

Eight lovely girls in a school where men
were forbidden. Eight girls dreaming spring
dreams ... a lover looked in at the window
and then there were seven. The eighth girl —
Dorothy Wilson . . . the lover — Douglas
Montgomery. The director — Richard Wallace.

t's

PARAMOUNT PICTURE, it's the best show in town

Brief Reviews of Current Pictures

CONTINUED FROM PAGE 6

DER SOHN DER WEISSEN BERGE (THE
SON OF THE WHITE MOUNTAINS)— Itala
Film. — Luis Trenkcr, skiing hero, and cast do good
work. But thejgorgeous Alpine views run away with
this German-made film. (Jan.)

• DESIGN FOR LIVING— Paramount.— Noel
Coward's unconventional stage play of a
triangle, involving two men (Fredric March and
Gary Cooper) and a woman (Miriam Hopkins).
Excellent. Sophisticated. (Jan.)

DEVIL'S IN LOVE, THE— Fox.— A shopworn
Foreign Legion story; but Victor Jory, Loretta Young,
David Manners, Vivienne Osborne, save it with fine
acting. (Oct.)

DEVIL'S MATE— (Also released under title "He
Knew Too Much") — Monogram. — A good melo-
drama about a murderer who was murdered so he
couldn't tell what he knew. (Oct.)

DIE GROSSE ATTRAKTION ("THE BIG

ATTRACTION")— Tobis-Tauber-Emelka, Prod.—
Richard Tauber's singing lends interest to this Ger-
man film. English subtitles. (Oct.)

• DINNER AT EIGHT— M-G-M — Another
"all star" affair; they're invited to dinner by
Lionel Barrymore and wife Billie Burke. Sophisti-
cated comedy follows. (A ug.)

DISGRACED— Paramount.— Not a new idea in
a carload of this sort of stuff. Mannikin Helen
Twelvetrees; rich scamp Bruce Cabot; enough said.
(Sept.)

DOCTOR BULL— Fox.— Will Rogers brings per-
sonality to the tale of a country doctor struggling
with a community that misunderstands; mild, except
for Will. (Nov.)

DON'T BET ON LOVE— Universal.— So-so;
Lew Ayres wild about race-horses; sweetheart Ginger
Rogers feels otherwise. Ends well, after some race
stuff. (Sept.)

• DOUBLE HARNESS— RKO- Radio.— Scintil-
lating sophistication, with Ann Harding wan-
gling rich idler Bill Powell into marriage, and mak-
ing him like it. (Sept.)

DREI TAGE MITTELARREST (THREE DAYS
IN THE GUARDHOUSE)— Allianz Tonfilm Prod.
— Excellent comedy situations when the mayor's maid
seeks the father of her child. German dialogue. (Aug.)

• DUCK SOUP— Paramount.— The Four Marx
Brothers get mixed up in a revolution in a
mythical country— and boy, how they get mixed up!
A riot of fun. (Jan.)

EMPEROR JONES, THE— United Artists.
The great Negro actor Paul Robeson, in a filming of
his phenomenal stage success about a Pullman porter
who won rulership of a Negro republic. (Dec.)

ESKIMO — M-G-M. — A gorgeous picture of life in
the Arctic, and Eskimos tangling with white man's
law. Eskimo actors; a treat for .ill who like the un-
usual. (Dec.)

EVER IN MY HEART— Warners.— Barbara
Stanwyck in a too-horrible tale about persecution of
herself and hubby Otto Kruger as German-Americans
during the World War. (Dec.)

FAITHFUL HEART— Helber Pictures.— Not
even Herbert Marshall and Edna Best could make
anything of this. ( Nov.)

FEMALE— First National.— Ruth Chatterton,

who toys with men in her own motor company, melts
before George Brent. Chatterton fine. (Jan.)

FIDDLIN' BUCKAROO, THE— Universal.— Ken
Maynard and horse Tarzan in a dull Western. (Sept.)

FIGHTING PARSON, THE— Allied-First Divi-
sion.— Hoot Gibson tries comedy, as a cowboy be-
decked in the garb of a parson. Not exactly a comic
riot, nor is it good Western. (Oct.)

FLYING DEVILS, THE— RKO-Radio.— Jealous
hubby Ralph Bellamy, owner of an air circus, tries
to crash Eric Linden. Eric's brother, Bruce Cabot,
sacrifices himself in air battle with Bellamy. (Aug.)

• FOOTLIGHT PARADE— Warners— Not as
much heart appeal as the earlier Ruby Keeler-
Dick Powell "backstage" romances, but it has Jimmy
Cagney. He's grand, and the specialty numbers are
among the finest ever done. (Dec.)

F. P. 1.— Fox-Gaumont British-UFA — A well-
done and novel thriller, about a floating platform
built for transatlantic airplanes. Conrad Veidt,
Leslie Fenton, Jill Esmond. (Oct.)

FORGOTTEN MEN— Jewel Prod.— Official war
films from fourteen countries; nothing too strong to
put in. Fine if you can stand seeing what really
happened. (Aug.)

FROM HEADQUARTERS— Warners.— A grip-
ping murder mystery, showing real police methods for
a change. (Dec.)

GAMBLING SHIP— Paramount.— A good idea
gone wrong; Cary Grant, Benita Hume, in a badly
worked out gangster piece. (Aug.)

• GOLD DIGGERS OF 1933— Warners —
Another and even better "42nd Street," with
Ruby Keeler, Dick Powell, Joan Blondell. in charge
of the fun. A wow musical. (Aug.)

GOLDEN HARVEST — Paramount. — Farmer
Dick Arlen grows wheat; brother Chester Morris is a
Board of Trade broker; a farmers' strike brings the
climax. A strong film. (Dec.)

GOOD COMPANIONS, THE— Fox-Gaumont-
British. — A mildly pleasing English tale of trouping
in the provinces. (Dec.)

GOODBYE AGAIN— Warners.— Good, if not
howling, farce. Author Warren William pursued by
ex-sweetie Genevieve Tobin; he's for Joan Blondell.
(Sept.)

GOODBYE LOVE — RKO-Radio. — Charlie
Ruggles in a would-be comedy that's really a messy
mixture of unsavory material. (Dec.)

GUN JUSTICE — Universal. (Reviewed under
the title "Rider of Justice.") — Ken Maynard shows
up in the nick of time to save the pretty girl's ranch
in Arizona. The same old hokum. (Jan.)

• HAVANA WIDOWS— First National.— Joan
Blondell, Glenda Farrell and Guy Kibbee in a
rollicking comedy. A climax that will tickle vour
risibilities. Good fun. (Jan.)

HE KNEW TOO MUCH— Monogram.— Also re-
leased as "Devil's Mate." See review under that
title. (Oct.)

HEADLINE SHOOTER— RKO-Radio.— News-
reel man William Gargan rescues reporter Frances
Dee, in an acceptable thriller with a new twist.
(Sept.)

HELL AND HIGH WATER— Parmount— Dick
Arlen, owner of a garbage scow, falls heir to a babv
and a girl (Judith Allen) at the same time. Dick
fine; story poor. (Jan.)

HELL'S HOLIDAY— Superb Pictures— Another
assemblage of official war film — with the usual anti-
war conversation added. Otherwise, acceptable and
interesting. (Oct.)

HER BODYGUARD— Paramount.— Showgirl
Wynne Gibson's so pestered, she hires Eddie Lowe
as bodyguard. Good enough fun from there on.
(Sept.)

HEROES FOR SALE— First National.— Boo
hoo! It's just too awful — all that happens to ex-
soldier Dick Barthelmess! (Aug.)

HIS PRIVATE SECRETARY— Showmens Pic-
tures.— An Evalyn Knapp romance with John Wayne.
Distinctly better than most films in which Evalyn
has appeared. (Oct.)

HOLD ME TIGHT— Fox.— Another Jimmie
Dunn-Sally Eilers opus, poor boy besting'the villain,
they live happily, etc. (Aug.)

• HOLD YOUR MAN— M-G-M.— Clark Gable
and Jean Harlow; both crooked to start, both
go straight for love. Not another "Red Dust," but
good enough. (Sept.)

HOOPLA — Fox. — Clara Bow as a carnival dancer.
Love interest, Richard Cromwell, whom Clara is
paid to vamp — and does she like it? Story so-so.
(Jan.)

• HOUSE ON 56TH STREET, THE— Warn-
ers.— After twenty years' unjust imprison-
ment, Kay Francis' life means little to her. Then it
is her lot to save daughter Margaret Lindsay from
a similar fate. Ricardo Cortez and Gene Raymond.
(Jan.)

I HAVE LIVED— Chesterfield.— Alan Dinehart.
Anita Page, others, help this obvious tale about a
playwright and a woman of easy virtue. (Nov.)

Photoplays Reviewed in the Shadow Stage This Issue

Save this magazine — refer to the criticisms before you pic\ out your evening's entertainment. Ma\e this your reference list.

Page
Advice to the Lovelorn — 20th Century-
United Artists 106

Alice in Wonderland — Paramount 57

As Husbands Go — Fox 106

Beloved — Universal 56

Big Shakedown, The — First National. . 107

Big Time or Bust — Tower Prod 107

Bombay Mail — Universal 59

By Candlelight — Universal 58

Convention City — First National 58

Counsellor-At-Law — Universal 56

Dancing Lady — M-G-M 56

Dark Hazard — First National 58

East of Fifth Avenue — Columbia 106

Easy Millions — Freuler Film 106

Page
Eat 'Em Alive— Real Life Pictures. ... 107
Farewell to Love — Associated Sound

Film 107

Frontier Marshal — Fox 106

Gallant Lady — 20th Century-United

Artists 57

Girl Without a Room — Paramount. . . . 106

He Couldn't Take It — Monogram 106

Her Splendid Folly — Hollywood Pic-
tures 106

Hold the Press — Columbia 106

Horseplay — Universal 106

If I Were Free— RKO-Radio 59

Jimmy and Sally — Fox 58

Lady Killer — Warners 59

Page

Master of Men — Columbia 59

Mr. Skitch— Fox 59

Right to Romance, The— RKO-Radio. 58
Roman Scandals — Samuel Goldwyn-

United Artists 57

Sitting Pretty — Paramount 58

Smoky — Fox 106

Thundering Herd, The — Paramount. . . 106
Wine, Women and Son — Monogram . . . 107
Woman Who Dared, The — Wm. Berke

Prod 106

Women in His Life, The— M-G-M .... 106
You Made Me Love You — Majestic

Pictures 59

Photoplay Magazine for February, 1934

I I

• I LOVED A WOMAN -First National— Ed-
ward G. Robinson, as a rich Chicago meat-
packer, finds his life torn between wife Genevieve
Tobin and opera singer Kay Francis. Excellent and
"different." (Nov.)

I LOVED YOU WEDNESDAY— Fox.— Life and

loves of dancer Elissa Landi. Victor Jory throws her
over; Warner Baxter loves her. Pleasant; not grip-
ping. (Sept.)

• I'M NO ANGEL.— Paramount. — It's Mae
West, and how! Sizzling, wise-cracking. This
one simply wows audiences. There's Cary Grant, but
Mae's all you'll see. (Dec.)

INVISIBLE MAN, THE— Universal.— Shivery,
this H. G. Wells tale, in which newcomer Claude
Rains makes himself invisible — and then loses his
reason. A creepy, but compelling picture. (Jan.)

IT'S GREAT TO BE ALIVE— Fox.— Perhaps
squirrels who see this will think so; most audiences
won't. Herbert Mundin, Edna May Oliver help
some. (Sept.)

JENNIE GERHARDT — Paramount. — Sylvia
Sidney's grand acting saves a slow telling of the
Dreiser tale about a girl who, unwedded, loved her
man throughout life. (Aug.)

KENNEL MURDER CASE, THE— Warners.—
William Powell in another Philo Vance murder mys-
tery; smoothly done and entertaining. (Dec.)

KING FOR A NIGHT— Universal.— Chester
Morris, a swell-headed, though likable prize-fighter,
stands the consequences for something sister Helen
Twelvetrees has done. Exciting. (Jan.)

LADIES MUST LOVE— Universal.— A "gold-dig-
ger" partnership breaks up when June Knight really
falls for Neil Hamilton. Thin, but it has good spots.
(Nov.)

• LADY FOR A DAY— Columbia.— Apple-
woman May Robson thought a society dame
by her daughter; a stage crowd throws a party to
save the day. Fine fun. (Sept.)

LAST TRAIL, THE — Fox. — A Zane Grey-
Western with racketeers instead of rustlers, and speed
cops in place of cowbovs. The changes don't help it.
(Oct.)

LAUGHING AT LIFE— Mascot Pictures.— A
well-done Richard Harding Davis type of tale about
soldier of fortune Victor McLaglen raising cain in a
banana republic. (.4 ug.)

LIFE IN THE RAW— Fox.— George O'Brien and
Claire Trevor in a Western enriched with new ideas.
(Oct.)

• LITTLE WOMEN— RKO- Radio.— This clas-
sic is exquisitely transferred to the screen.
Katharine Hepburn, as Jo is sky-rocketed to greater
film heights. Joan Bennett, Frances Dee and Jean
Parker, as Jo's sisters, give spendid performances.
(Jan.)

LONE AVENGER, THE— World Wide.— The big
bank robbery is the burden of this Ken Maynard
Western. Youngsters won't be disappointed. (Sept.)

LONE COWBOY— Paramount.— Without Jackie
Cooper there wouldn't be much of a picture. Jackie's
sent West to comfort his dead father's pal embittered
by his wife's (Lila Lee) faithlessness. (Jan.)

LOVE, HONOR AND OH, BABY!— Universal.
— (Reviewed under the title "Sue Me.") Shyster
lawyer Slim Summerville tries to frame ZaSu Pitts'
sugar-daddv. Riotouslv funnv, after a slow start.

( Nov.)

• MAD GAME, THE— Fox.— Spencer Tracy,
imprisoned beer baron, is released to catch a
kidnaper. He loves the assignment — after what the
kidnaper did to him. Love interest, Claire Trevor.
Well acted. Not for children. (Jan.)

• MAMA LOVES PAPA— Paramount— Lowly
Charlie Ruggles is made park commissioner;
involved with tipsy society dame Lilyan Tashman.
Great clowning. (Sept.)

MAN OF THE FOREST— Paramount.— Far from
being a topnotch Western. Randolph Scott, Verna
Hillie, Noah Beery. Good work done by a mountain
lion. (Sept.)

MAN'S CASTLE — Columbia. — A deeply moving
tale of vagabond Spencer Tracy and his redemption
by Loretta Young's love. (Dec.)

[ PLEASE TUEX TO PAGE 15 ]

' B.O." GON E good times ahead!

i&s

SORRY I WOKE YOU,)
JEAN. BUT I JUST <

HAD TO TELL YOU-)
^BILL WAS AROUND //
LASTNI6HT! y/

rAND I TAKE IT HE'S COMING AGAIN SOON.
CONGRATULATIONS, DEAR. AND DID I TELL
YOU -LIFEBUOY'S GRAND FOR
THE COMPLEXION, TOO

Combats TWO winter foes

enemy NO. 1 — cold, biting winds that roughen and irri-
tate the skin. Lifebuoy lather soothes — cleanses, gently!
enemy no. 2 — close, stuffy rooms that make it easy for
"B.O." {body odor) to offend. Lifebuoy lather purifies —
deodorizes pores. Its pleasant, quickly-vanishing, hygienic
scent tells you this rich lather stops "B.O."

News and Views from

[ CONTINUED FROM PAGE 8 ]

clever performances, we who have learned to
appreciate his superb artistry can easily over-
look this unfortunate occurrence.

M-G-M, hadn't you better reconsider your
decision and grab Lee back before another
studio takes advantage of your mistake? We
cannot do without him. He is our favorite
depression chaser.

Vive la 7 racy!

Lilian Warren, London, England

The Lee Tracy episode is regrettable.

Mr. Tracy has repeatedly and vehemently
denied imbibing too freely of the "cup that
cheers," but the implication becomes a self-
evident fact, since only one in an extremely
befuddled state could so far forget himself.
A newspaper paragrapher, waxing a bit face-
tious on the subject, says, "Mr. Tracy un-
doubtedly holds the world record for 'per-
sonal' appearance!"

Mr. Mayer, in justice to the industry and
himself, could do no less than he has done
toward disciplining the recalcitrant Tracy;
but it is to be hoped that his dismissal from
films will not be permanent, for the screen
would thus lose one of its most capable and
popular stars.

Mrs. W. P. Jackson, Columbia, Tenn.

ANNA "ON THE SPOT"?

If ever a star was put "on the spot" that
star is Anna Sten. The public has been
informed, through advance publicity on her
first American picture, " Nana," that the
Russian importation will push Garbo, Dietrich
and the other exotics off the screen.

"Only Yesterday," with Margaret Sul-
lavan, from the New York stage, and
the personable John Boles, has brought
in a perfect raft of reader commenda-
tion. They recognize Margaret's ability

Will Anna Sten prove to be the star find
of 1934? Another Hepburn springing into
fame overnight? Let's hope she is.

F. James Ross, Rutland, Vt.

"WILD BOYS OF THE ROAD"

On the screen before me was pictured dar-
ingly, dramatically, realistically, the actual
lives of the half million boys who wander over
America — living in tramp "jungles," sewer-
pipe "cities," and subway "hotels," stealing
to live. "How long before they live to
steal?" I asked myself. "How can these
young children be reclaimed? How will Amer-
ica solve this problem?

The picture brought a tear to the eye and
a tug to the heart! History already made!
Not far-fetched, not feverish, not Hollywood-
ian — just plain, unadulterated history!

Based as it is on authentic facts obtained
from a reporter who actually lived among
these children, it is the duty of every public-
spirited father and mother, or brother and
sister, whose interest in the welfare of children
goes beyond their own hearthstones, to see
"Wild Boys of the Road," and reflect long and
seriously.

M. C. Jones, New York, N. Y.

A PEACH OF A PAIR

"Only Yesterday" can be understood and
appreciated by all. It was a relief to see such
a film.

Margaret Sullavan is a real and genuine
actress. Mr. Boles' performance is superb.

Here's to another Sullavan and Boles pic-
ture real soon!

Bernadeth Nelson, Beverly Hills, Calif.

AGAIN IT'S SULLAVAN

Margaret Sullavan is a star of genuine
brilliance. Her work in "Only Yesterday"
proved that.

Yesterday only a name. Yesterday only a
face in the crowd, but today the darling of

"We loved Jean Harlow as 'The Blonde Bombshell,' but oh, you Tracy !"
That lad's mail is going to break the postman's back. It grows daily

All Parts of the Globe

the screen. Yesterday only a voice, but today
a thrilling personality.

This beautiful, sensitive love story is played
by one of the finest casts ever assembled for
a single film.

Mrs. William Figy, New Glarus, Wis.

WE CHEER, TOO!

I have just seen "The Blonde Bombshell,"
and what a knockout!

It is about the fastest-moving picture that
I ever expect to see.

Here's three cheers for Jean Harlow and
Lee Tracy for entertaining performances.
Elcy Oberdick, Leavenworth, Kansas

"THE PERFECT LOVE PAIR"

Who was it that said, "Let's choose a per-
manent perfect love pair for Hollywood, and
make it one with a child?" Immediately
Bebe and Ben Lyon pop into my mind! Why
not trust them to that honorable position?
Dortha V. Buxz, Indianapolis, Ind.

IT'S THE HAROLD LLOYDS

In the December issue of Photoplay i
noticed a letter entitled "Cast Your Vote,"
and I am taking advantage of that.

I believe the Harold Lloyds are Hollywood's
ideal couple.

Martha A. Singleton, Hope, Ark.

NO, IT'S JOHN AND DOLORES

I say that John and Dolores Barrymore ?••
the ideal couple. One never hears of John
tripping about "alone."

Marian Martin, Chicago, 111.

HOW AROUT HERRERT AND EDNA?

As to the "Ideal Couple of Hollywood" —
my vote goes to Herbert Marshall and Edna
Best.

M. K., San Antonio, Texas

Here she is.' Jeanette MacDonald.
One reader's choice for the title role
in M-G-M's "The Merry Widow." A
coveted part, worthy of the acknowl-
edged musical talent of this fine actress

Maurice has added painting to his arts. In "The Way to Love," M. Chevalier
does a study of Casanova, the dog, while Edward Everett Horton looks on

MY MERRY WIDOW

M-G-M is searching for someone to play the
feminine lead in "The Merry Widow," when
all the time they have the Merry Widow on
their own lot. It's Jeanette MacDonald, of
course. There could be no better choice for
the part. Who but Miss MacDonald could
play that gay, charming woman?

Gertrude Klein, New York, N. Y.

A GLOBE TROTTER

"Better than a college education" is my
slogan for the movies.

By diligence, the movie devotee may be-
come an accomplished linguist, traveler, ex-
plorer or messieur de affaires.

With "Trader Horn," I stalked big game
in Africa; "Rasputin" saw me with the
Russian Cossacks; I was "A Fugitive from a
Chain Gang" with Paul Muni. I was a gal-
lant Romeo in a hundred others. But I need
not go on.

Like a bee on a flower, I extract the nectar
from the motion picture — which is truly the
flower of American entertainment!

Frank R. Moore, Detroit, Mich.

"THE WAY TO LOVE"

Chevalier sings! And acts! It's a picture
with a thrill, and with plenty of pep, too.

That happy-go-lucky air of Chevalier's just
seems to "get" people.

There is but one Chevalier — and there'll
never be another!

Ruth Kohnmann, Memphis, Term.
[ please turn to page 14 ]

1 he Audience lalks Back

A SIGNAL HONOR

Few there are in all Hollywood as deserving
of the birthday reception tendered Marie
Dressier. In an age when youth is very much
in the ascendancy, it is gratifying that one who
is mellowed by sixty-two years of life should
be toasted and acclaimed as Marie was on her
natal day. Time cannot dim her enthusiasm
nor age destroy her vigor and personality.

Joseph B. Sinclair, San Francisco, Calif.

BORN ACTORS?

Seeing Paul Robeson in "Emperor Jones"
has confirmed a pet theory I have long held —
namely, that the Negro is a natural-born actor.
His innate feeling for the dramatic, his strong
exhibitionist tendency and his facile, easily-
played-upon surface emotions make him ideally
suited for acting. The capacity for quickly
aroused, superficial laughter or tears make him
equally competent to portray a character that
is hilariously funny or appealingly pathetic.
Irene M. Woodruff, Charlestown, Mass.

ABOUT OUR "ANGEL"

I think Mae West is the greatest thing on
the screen — but please don't every actress
start wiggling her hips, wearing Mae West
gowns, and carrying a parasol. We like you
for your own charming characteristics, and not
something adopted from someone else.

Besides, by the time you all acquire Mae's
characteristics she will have started something
new — and there you will be (holding the bag,
so to speak), wiggling your hips and saying
"Come up sometime."

Hulda Hoglund, Oakland, Calif.

SOUP AND "NUTS"

Whoops! Bang! Wow! And why not?
Yes, you've guessed it. The Marx Brothers
are in town.

Put down your knitting, Grandma, and
help find Junior's mittens, because we're all
going to town and have "Duck Soup."

Dorothy Barrett, Staples, Minn.

As royal subjects eagerly await their
queen, so do Garbo's devotees antici-
pate the coming of her film, "Queen
Christina," to the nation's screens

[ CONTINUED FROM PAGE 13 ]

THANK YOU

Photoplay stands alone as a reliable and
unprejudiced guide for any family that cannot
afford to spend time or money on pictures that
do not interest them.

In our home we rely confidently on its good
judgment.

B. Warwick, Chatham, Ont., Canada

ALL HAIL!

Hail to the Queen! A royal role for the
reigning monarch of filmdom. In anticipa-
tion of a glorious array of regal splendor, do I
await the coming of "Queen Christina."
Garbo has won our hearts by the magnificence
of her performances in the past. But the near
future promises the climax.

As the magnanimous Christina of Sweden,
she should be superb. It is a natural, and
Greta will not fail.

Joy Reynolds, Chicago, HI.

Every kind of question is coming in about Harpo of "Duck Soup." Tell us the
secret of your charm, Mr. Marx. The ladies certainly seem to love you

Photoplay Magazine for February, 1934

Brief Reviews of
Current Pictures

[ CONTINUED FROM PAGE 11 ]

• MAN WHO DARED, THE— Fox.— Life story
of the l?te Mayor Cermak of Chicago, from an
immigrant boy in a coal mine to his assassination at
the side of President Roosevelt. Fine cast, Preston
Foster in the lead. (Oct.)

MARY STEVENS, M.D.— Warners.— Slow tale
of two doctors (Kay Francis, Lyle Talbot) who love,
have a baby, but won't marry. (Sept.)

• MAYOR OF HELL, THE— Warners.— Gang-
ster Jimmy Cagney steps into a tough reform
school, and with help of inmate Frankie Darro, makes
things hum. Madge Evans. (Aug.)

MEET THE BARON— M-G-M — Jack Pearl's
film version of his radio nonsense about Baron Mun-
chausen. Grand support; often hilarious. (Dec.)

MELODY CRUISE — RKO-Radio. — Playboy
Charlie Ruggles has girl trouble on a cruise. Good
music; plot falls apart. (Aug.)

MIDNIGHT CLUB— Paramount.— George Raft
plays crook to catch chief crook Clive Brook, but falls
in love with Helen Vinson, one of the gang. Not as
good as the grand cast suggests it should be. (Oct.)

MIDNIGHT MARY— M-G-M.— Loretta Young
does a better than usual gun moll; she shoots big-shot
Ricardo Cortez to save lawyer Franchot Tone for the
plot. (A ug.)

MIDSHIPMAN JACK— RKO-Radio.— A color-
ful story of Annapolis and a careless midshipman who
makes good. Bruce Cabot, Betty Furness, Frank
Albertson, others. (Dec.)

• MOONLIGHT AND PRETZELS— Univer-
sal.— Leo Carrillo, Lillian Miles, Roger Pryor,
Mary Brian, in a musical. Familiar theme but ex-
cellent numbers. ( Nov.)

MORGENROT (DAWN).— UFA.— An excellent
German film about submarine warfare. English pro-
logue and captions. (Aug.)

MY LIPS BETRAY— Fox.— A musical comedy
kingdom in which cabaret singer Lilian Harvey falls
in love with king John Boles, and is loved by him.
El Brendel. Fair. (Jan.)

MY WOMAN— Columbia.— Wally Ford gets a
radio break when his wife, Helen Twelvetrees, vamps
Victor Jory into the idea. But success goes to Wally 's
head; he loses his job — and his wife. (Jan.)

• MY WEAKNESS— Fox.— Lilian Harvey as a
Cinderella coached by Lew Ayres to catch his
rich uncle's son, Charles Butterworth. Charles is a
riot. (Dec.)

MYRT AND MARGE— Universal.— Two popular
radio stars do their stuff for the movies; an amusing
little musical. (Nov.)

NARROW CORNER, THE— Warners.— Doug
Fairbanks, Jr., in a lugubrious tale of evil passions in
the South Seas. Fine acting, fine cast, but a dark
brown after-taste. (Aug.)

NIGHT AND DAY— Gaumont-British— Mixed
music and melodrama, done in leisurely British
fashion; the mixture doesn't jell. (Aug.)

• NIGHT FLIGHT— M-G-M— All star cast,
with two Barrymores, Helen Hayes, Robert
Montgomery. Myrna Loy, Clark Gable, others. Not
much plot, but gripping tension and great acting, as
night flying starts in the Argentine. (Nov.)

NO MARRIAGE TIES— RKO-Radio.— Richard
Dix as a brilliant sot who makes good in advertising,
with Elizabeth Allan clinging to him. Good Dix
stuff. (Sept.)

OLSEN'S BIG MOMENT— Fox.— El Brendel is
not only a janitor, but a matchmaker and a caretaker
for an intoxicated bridegroom. Plenty of laughs.
Walter Catlett and Barbara Weeks. (Jan.)

[ PLEASE TURN TO PAGE 16 ]

/ J*# •

Posed by professional model

Spedae QUICK WAY TO
PUT POUNDS ON FAST !

Astonishing gains with new
double tonic. Richest imported
brewers' ale yeast now concen-
trated 7 times and iron added.
Gives 5 to 15 lbs. in a few weeks.

NOW there's no need to have people call-
ing you "skinny", and losing all your
chances of making and keeping friends.
Here's a new, easy treatment that is giving
thousands healthy flesh and attractive curves
— in just a jew weeks.

As you know, doctors for years have pre-
scribed yeast to build up health for rundown
people. But now with this new discovery
you can get far, greater tonic results than
with ordinary yeast— regain health, and in
addition put on pounds of solid flesh — and
in a jar shorter time.

Not only are thousands quickly gaining
beauty-bringing pounds, but also clear, radi-
ant skin, freedom from indigestion and
constipation, new pep.

Concentrated 7 times

This amazing new product, Ironized Yeast,
is made from special brewers' ale yeast imported
from Europe— the richest yeast known —
which by a new process is concentrated
7 times — made 7 times more powerful!
But that is not all! This marvelous,
health-building yeast is then ironized
with 3 special kinds of iron which
strengthen the blood, add abound-
ing pep and untiring energy.

WE 00 OUR PART

Day after day, as you take Ironized Yeast,
watch ugly, gawky angles fill out, flat chest
develop and skinny limbs round out attrac-
tively. And with this will come clear skin,
new health — you're an entirely new person.

Skinniness a serious danger

Authorities warn that skinny, anemic, ner-
vous people are far more liable to serious
infections and fatal wasting diseases. So
build up quick, before it is too late.

Results guaranteed

No matter how skinny and weak you may
be, this marvelous new Ironized Yeast should
build you up in a few short weeks as it has
thousands. If you are not delighted with
the results of the very first package, your
money instantly refunded.

Only be sure you get genuine Ironized
Yeast, not some imitation that cannot give
the same results. Insist on the genuine with
"IY" stamped on each tablet.

Special FREE offer!

To start you building up your health right
away, we make this absolutely FREE offer.
Purchase a package of Ironized Yeast at
once, cut out the seal on the box and mail it
to us with a clipping of this paragraph. We
will send you a fascinating new book
on health, "New Facts About Your
Body", by a well-known authority.
Remember, results are guaranteed
with the very first package — or money
refunded. At all druggists. Ironized
Yeast Co., Dept. 52, Atlanta, Ga.

Brief Reviews of Current Pictures

[ CONTINUED FROM PAGE 15

• ONE MAN'S JOURNEY— RKO-Radio.—
Lionel Barrymore struggles from obscurity to
universal esteem as a self-sacrificing, conscientious
country doctor. May Robson, David Landau, Joel
McCrea, others, in support. (Nov.)

ONE SUNDAY AFTERNOON — Paramount —
Dentist Gary Cooper suddenly finds his life-long
enemy in his dental chair, at his mercy, and thinks
back over it all. Direction could have done better
with cast and story. ( Nov.)

ONE YEAR LATER— Allied.— Melodrama that
turns a slow start into a good finish. Mary Brian
and Donald Dillaway. (Oct.)

• ONLY YESTERDAY— Universal.— It's a hit
for Margaret Sullavan in the role of a girl who
kept the secret of her unwise love from her lover,
John Boles, for many years. Splendid direction.
(Jan.)

OVER THE SEVEN SEAS— William K. Vander-
bilt. — Mr. Vanderbilt'sfilmsof his journey around the
world, gathering marine specimens. Some wonderful
color photography. (A ug.)

• PADDY, THE NEXT BEST THING— Fox-
Janet Gaynor in a whimsical, delightful story
of an Irish madcap girl who doesn't want big sister
Margaret Lindsay forced to marry rich planter
Warner Baxter. (Nov.)

•PENTHOUSE— M-G-M — Standard melodrama
about a "high life" murder, but thrillingly done
by Warner Baxter, C. Henry Gordon, Myrna Loy,
Phillips Holmes, Mae Clarke, and others. (Nov.)

PICTURE BRIDES— Allied.— Scarlet sisters,
diamond miners, and not much else. (Dec.)

POIL DE CAROTTE (THE RED HEAD)—

Pathe-Natan. — Redhead Robert Lynen splendid as
the lonely boy who tries to hang himself. English
captions. (Sept.)

POLICE CALL— Showmens Pictures.— Wild ad-
ventures in Guatemala; a mediocre film. (Nov.)

POLICE CAR 17— Columbia.— Tim McCoy, in a
radio squad car. chases a crook, and winds up in
marriage with Evalyn Knapp, daughter of the police
lieutenant. Just so-so. (Jan.)

POWER AND THE GLORY, THE— Fox-
Ralph Morgan relates the life story of his friend the
railroad president (Spencer Tracy). Colleen Moore
"comes back" in this. Unusual and good. (Sept.)

• PRIVATE LIFE OF HENRY VIII, THE—
London Film-United Artists. — Charles Laugh-
ton superb and also gorgeously funny as the royal
Bluebeard; photography is inspired. (Dec.)

• PRIZEFIGHTER AND THE LADY, THE
— M-G-M. — With Myrna Loy to make love to,
and Camera to fight. Max Baer is the hero of one of
the best ring pictures yet made. He'll challenge any
lady-killer now. (Jan.)

SECRET OF THE BLUE ROOM, THE— Uni-
versal.— Well-sustained melodrama about a sealed
and deadly room. Gloria Stuart, William Janney,
Paul Lukas, Onslow Stevens. (Sept.)

SHANGHAI MADNESS— Fox.— Melodrama in
China; Spencer Tracy, Eugene Pallette, Fay Wray,
better than the story. ( Nov.)

SHE HAD TO SAY YES— First National —
Loretta Young, cloak-and-suit model, must be agree-
able to out-of-town buyers. Gets all tangled in its
own plot. (A ug.)

SHEPHERD OF SEVEN HILLS, THE— Faith
Pictures. — A finely done camera visit to the Vatican,
with scenes showing Pope Pius XI. (Ncn1.)

MOVIE NEWS!

Let old Cal York tell you

what's going on in and

about Hollywood

CaPs the best - informed
gossip scribe in town.
So, for authentic news,
read his columns in every
issue of

Photoplay

SHOULD LADIES BEHAVE?— M-G-M— (Re-
viewed under title "The Vinegar Tree.") — Mary
Carlisle won't listen to reason when her parents, Alice
Brady and Lionel Barrymore. try to keep her from
marrying suave Conway Tearle. Amusing. (Jan.)

SILK EXPRESS, THE— Warners.— Good melo-
drama; crooks try to stop a silk shipment from Japan.
Neil Hamilton; fine support. (A Kg.)

SON OF A SAILOR— First National.— Joe E
Brown has a weakness for gold braid and pretty girls
including Thelma Todd. Good, clean fun. (Jan.)

SONG OF SONGS, THE— Paramount.— A once-
thrilling classic about artist-model Marlene Dietrich,
deserted by artist Brian Aherne, and married to
blustering baron Lionel Atwill. Charming; not stir-
ring. (Sept.)

S. O. S. ICEBERG — Universal.— Thrilling and
chilling adventure adrift on an iceberg; marvelous
rescue flying. (Dec.)

SPECIAL INVESTIGATOR — Universal. —
Onslow Stevens and Wynne Gibson are rounded up
as murder suspects. When things look darkest,
Wynne saves the day. Too mystifying to be easily
followed. (Jan.)

SPHINX, THE— Monogram.— Excellent melo-
drama, with Lionel Atwill as chief chill-giver; Theo-
dore Newton, Sheila Terry, Paul Hurst, Luis Alberni.
(Aug.)

STAGE MOTHER— M-G-M.— Alice Brady and
Maureen O'Sullivan in an "ambitious mother and
suppressed daughter" tale; Alice Brady's great work
keeps it from being boring. (Dec.)

• STORM AT DAYBREAK— M-G-M.— Kay
Francis and Nils Asther two unwilling points
of a triangle, with Serbian mayor Walter Huston
as the third. A powerful story of war days in Sara-
jevo. (Sept.)

STRANGE CASE OF TOM MOONEY, THE—

First Division. — Nevvsreel material showing Mooney's
side of this noted case. Effectively done. (Oct.)

STRANGER'S RETURN, THE— M-G-M.— The
folks secretly detest rich, crotchety farmer Lionel
Barrymore — all except city granddaughter Miriam
Hopkins. Grand "back to the farm" feeling;
superb acting. (Sept.)

STRAWBERRY ROAN— Universal.^Ken May-
nard and Ruth Hall good; but the horses are so fine,
humans weren't needed. An exceptional Western.
(Dec.)

STUDY IN SCARLET, A— World Wide.— Has
Reginald Owen as Sherlock Holmes, but Conan Doyle
wouldn't know the story. Fair. (Aug.)

SUNSET PASS— Paramount.— A Western that is
one — fine cast, fine action, gorgeous scenery. Worth
anyone's time. (A ug.)

SWEETHEART OF SIGMA CHI, THE— Mono-
gram.— Buster Crabbe and Mary Carlisle ornament
an otherwise so-so tale of college life. (Dec.)

SYAMA — Carson Prod. — The elephant doings
here might have made a one-reel short; otherwise,
there's nothing. ( Nov.)

TAKE A CHANCE — Paramount. — Tent-show
crooks James Dunn and Cliff Edwards try to build
up June Knight for Broadway. Lilian Bond and
Buddy Rogers. Excellent musical numbers. (Jan.)

• PROFESSIONAL SWEETHEART — RKO-
Radio. — Ginger Rogers in a patchily done but
funny skit about a radio "purity girl" who's hot-cha
at heart. Fine comic support. (Aug.)

OUATORZE JUILLET ("JULY 14")— Protex
Pictures. — A taxi driver and a girl enjoy the French
national holiday together. The comedy can be better
appreciated by those who know French. Fair. (Jan.)

RETURN OF CASEY JONES, THE— Mono-
gram.— A disjointed railroad melodrama. (Sept.)

SATURDAY'S MILLIONS— Universal.— Foot-
ball hero Robert Young thinks the game a racket, but
finds it isn't. Bright and fast. (Dec.)

SING SINNFR SING — Majestic Pictures. —
Torch singer Leila Hyams tries to reform hubby
Don Dillaway. Paul Lukas, George Stone also in
cast. So-so. (Oct.)

SKYWAY — Monogram. — A humdrum thriller
about an airplane pilot, played by newcomer Ray
Walker. (Oct.)

SOLDIERS OF THE STORM— Columbia-
Standard melodrama about a U. S. Border Patrol
aviator and liquor smugglers; Regis Toomey makes it
distinctly good entertainment. (Aug.)

SOLITAIRE MAN, THE— M-G-M.— Crooked
doings in an airplane. Herbert Marshall, Lionel
Atwill, and Mary Boland as a screamingly funny-
American tourist. (Nov.)

TAMING THE JUNGLE— Invincible.— Another
revelation of lion taming. Some interest, but not hot.
(Aug.)

TARZAN THE FEARLESS— Principal.— Buster
Crabbe doing Johnny Weissmuller stuff in a disjointed
Tarzan tale. Indifferent film fare. (Nov.)

• THIS DAY AND AGE— Paramount.— Cecil
B. DeMille produces a grim but gripping story
of boys who clean up on a gangster when the police fail
A challenging picture that everyone will talk about.
(Oct.)

THIS IS AMERICA— Frederick Ullman. Jr. Prod.
— Newsreel material, brilliantly selected and as-
sembled by Gilbert Seldes, tells the story of America
from 1917 to the present. Well worth seeing. (Oct.)

Photoplay Magazine for February, 1934

THUNDER OVER MEXICO— So! Lessor Prod.

— Russian genius Sergei Eisenstein's idea of Mexico's
revolt against Diaz; breath-taking photography and
scenery. (.4 ug.)

TILLIE AND GUS— Paramount.— Even W. C.
Fields and Alison Skipworth couldn't make much of
this would-be comedy. (Dec.)

TO THE LAST MAN— Paramount. — Randolph
Scott and Esther Ralston, as representatives of
feuding ex-Kentucky families, lend welcome plot
variety to this good Western. (Dec.)

•TOO MUCH HARMONY — Paramount.— A
zippy musical enriched by Jack Oakie, Bing
Crosby, many other A-l laugh-getters. A riot of fun.
(Nov.)

TORCH SINGER— Paramount.— Claudette Col-
bert is an unmarried mother who succeeds as a singer.
Her songs are fine; Baby LeRoy. (Nov.)

TRAIL DRIVE, THE— Universal.— An accept-
able Western with Ken Maynard. (Oct.)

• TUGBOAT ANNIE— M-G-M.— Marie Dres-
sier and Wally Beery provide fun running their
tubgoat about Seattle. Not exactly a "Min and
Bill," but splendid entertainment. (Oct.)

• TURN BACK THE CLOCK— M-G-M— Lee
Tracy does a bang-up job as a man given a
chance to live his life over again. Mae Clarke, Peggy
Shannon, Otto Kruger, others; a fast-moving, grip-
ping story. ( Nov.)

• VOLTAIRE— Warners. — A triumph for
George Arliss, as the whimsical French phil-
osopher intriguing at court. Reginald Owen superb
as Louis XV. (Sept.)

WAFFLES — Helen Mitchell Prod.— They
shouldn't have tried making a Southern girl of Sari
Maritza. The rest of it is in keeping with this mis-
take. ( Nov.)

WALLS OF GOLD— Fox.— Sally Eilers. others,
wander dully through a dull tale about marrying for
money after a lovers' falling out. (Dec.)

WALTZ TIME — Gaumont- British. — Charming
music helps a dull, draggy story. (Dec.)

WAY TO LOVE, THE— Paramount.— Maurice
Chevalier wants to be a Paris guide, but finds himself
sheltering gypsy Ann Dvorak in his roof-top home.
Plenty of fun then. (Dec.)

WHAT PRICE INNOCENCE?— Columbia-
Parents Minna Gombell, Bryant Washburn, won't
tell daughter Jean Parker the truth about sex, as
advised by doctor Willard Mack; tragedy follows.
A powerful sermon. (Sept.)

• WHEN LADIES MEET— M-G-M.— Unexcit-
ing, but brilliantly acted. Ann Harding as wife,
Myrna Loy as menace, Frank Morgan, Alice Brady,
Bob Montgomery. (Aug.)

WHEN STRANGERS MARRY— Columbia —
A dull piece, offering nothing new, about why white
men's wives go wrong in the tropics. Jack Holt,
Lilian Bond. (Aug.)

WHITE WOMAN— Paramount.— Charles Laugh-
ton, ruler of African jungle kingdom, discovers that
Carole Lombard, cast-off, whom he is sheltering, has
fallen in love with Kent Taylor. And what blood-
curdling horror follows! (Jan.)

WILD BOYS OF THE ROAD— First National.—
A well-done story of youngsters who turned hoboes
during the depression. (Dec.)

WOMAN I STOLE, THE— Columbia.— Herge-
sheimer's "Tampico" done in Algeria. Big oil man
Jack Holt after Donald Cook's wife, Fay Wray.
Fair. (Sept.)

WORST WOMAN IN PARIS?, THE— Fox —

Adolphe Menjou, Benita Hume. Harvey Stephens, in
a mild tale about a misunderstood woman. (Dec.)

■>\V.<T-
for a
from
.onth
re no
ittcd
ation
ge to
umps
: war
rmer-
worfe
Merit
irized
ie Of
con-
imps
nroll-

lished

Sveu ttons 01 « na

500 PEOPLE IN
SCIENTIFIC TESTS
END COLDS IN
HALF THE TIME

You may benefit by what they

proved — Pepsodent Antiseptic

fought off colds — cut time

lost from colds in half

Recently an interesting tes
brought to light new facts abo
Scientists found that the antisi
gle and to spray with makes as
as to how many colds you have',
makes a difference as to how gg

These scientists took a gro:
and observed them closely fi
Here are some of the rema*
covered.

A cold will last live daj
Pepsodent Antiseptic isga
. t a '• ild is cut to two di
j from a cold were saved

Many of the group wbg
A: • s sptiC had 00 c-M
j months. The number
I greater than among
i with other antisepti

This is the first test of i;
tiric conditions with thv
j salt water. M
public t

%Jlef*& *3

Pepsodent is 3 times more powerful than other leading
mouth antiseptics. Hence it gives you 3 times greater
protection — gives you 3 times more for your money.

THE test of any antiseptic is : will it
work? How effectively Pepsodent
Antiseptic "works" is now on official
record. Tests on 500 people give science
convincing proof of what Pepsodent
offers you in fighting winter colds.

Five hundred people were divided into
several groups. In fighting colds some
gargled with plain salt and water — some
with leading antiseptics — one group
used only Pepsodent Antiseptic.

Those who used Pepsodent had 50%
fewer colds than any other group.

What's more, those using Pepsodent
Antiseptic, who did catch cold, got rid
of their colds in half the time.

What convincing evidence — what re-

markable testimony. Here is a clear-cut
example of the extra protection that
Pepsodent Antiseptic gives you.

Know this about Antiseptics
Take note! When mixed with an equal
part of water, many leading mouth
antiseptics cannot kill germs. Pepsodent
Antiseptic can and does kill germs in
10 seconds — even when it is mixed
with 2 parts of water.

That's why Pepsodent goes three times
as far — gives you 3 times as much for
your money — makes $1 do the work of
$3. Don't gamble with ineffective anti-
septics. Use Pepsodent Antiseptic. Safe-
guard your health— and save your money.

PEPSODENT ANTISEPTIC

Photoplay Magazine for February, 1934

CENTER OF THE WINTERTIME WORLD

The Most

AMAZING
VACATION

Ever Conceived

"Center of
gates are

> challenge to the future — this audac-
ious vacation plan of the Miami Biltmore!
Offering more than sumptuous living in
one of the world's greatest hotels, the
Miami Biltmore announces a policy of
guest entertainment, privileges and special
courtesies that has NEVER been equalled
ANYWHERE. As a guest of the hotel you
are entitled to a COMPLETE VACATION
— whether you spend the winter or a few
weeks. No matter what your tastes in sports
and social diversions, in vacation relax-
ation or holiday excitements, you can
indulge them at their best in the Miami
Biltmore plan.

When you register in this
the Wintertime World" the
opened to you to all the important resort
pleasures of this world-famous playground
. . . many of which can be enjoyed only
at the Miami Biltmore . . . social functions
of national distinction . . . sports events
of national and international interest.

For example, as a patron of the hotel,
you are extended full privileges in the
Florida Year Round Clubs . . . three mag-
nificent sports centers — the Miami Biltmore
Country Club, the Roney Plaza Cabana
Sun Club at Miami Beach and the Key
Largo Anglers Club down on the Florida
"keys".

An extraordinary economy — and a
service which expands your enjoyment to
the entire Miami resort area — is the trans-
portation system operating from the Miami
Biltmore and serving all units of the
Florida Year Round Clubs. Without extra
expense, you ride by aerocar to the races,
dog tracks, downtown shopping and theater
districts. Or fly by autogiro to Miami
Beach ! Or scoot by sea-sled down Biscayne
Bay to Key Largo and the celebrated fish-

ing grounds — an exhilarating journey
along the quiet inland waters and colorful
tropic shores of southern Florida. Your
saving in local transportation costs alone
will offset a major portion of your hotel
bill. Moreover, this service brings the
Miami Biltmore closer to all resort interests
than any other hotel.

On the hotel estate itself is the 18-hole
golf course . . . completely worked over
for this year's play . . . with a staff of five
celebrated pros: GENE SARAZEN,
DENNY SHUTE, MIKE BRADY, LOUIS
COSTELLO and NED EVERHART. Also,
two outdoor pools . . . where weekly
aquatic carnivals are held . . . including
National Olympic Stars Meet and Atlantic
Seaboard A. A. U. Meet. On the tennis
courts, brilliant play every day . . . nat-
ional tournaments . . . professional coach.
In the Miami Biltmore stables — mounts for
expert or beginner . . . veterinarian, groom
and blacksmith services . . . guests' horses
boarded without cost! One of the climaxes
of the season will be the National Horse
Show. And for the fisherman, poloist, race
enthusiast or any other hobby-rider, the
Biltmore program provides plenty of daily
fun.

The social schedule, too elaborate to
enumerate in detail, varies from such
informal affairs as chowder parties to
sumptuous costume balls . . . with nightly
jollity of dance orchestras and Broadway
entertainers.

Despite its additional services and
privileges, the Miami Biltmore has not
increased its sensible tariff rates!

Acquaint yourself with this amazing
vacation offer, and you will agree with
seasoned travelers that it is the best "buy"
in the whole resort world!

Open October 28th to June 30th

For information, literature and reservations
address hotel direct or see your travel agent

MIAMI BILTMOhE

C O R A L

GABLES

MIAMI

FLORIDA

Kenneth Alexander

THE Crane Twins are in Hollywood to give the proper Down-in-
the-Latin Quarter reZ'de'chaussee touch to Constance Bennett's
new picture, "Moulin Rouge." The Crane girls, one of the most famous
dancing teams in the country, are garbed as Apache dancers. And the
dance they do would be cheered by the most exacting Parisian audience

Elmer Fryer

RUTH CHATTERTON has a far-away look in her eye, and it's a
bet that she is going to make good her threat to leave camera cares
behind and take a jaunt into foreign lands with Hubby George Brent.
Ruth recently finished "Journal of a Crime." And she won't look at a
single script. Too busy studying maps and poring over travel books

Robert W. Coburn

WHEN a star radically changes her type of roles, the studio is
usually in a dither of fear. But nobody seems worried about the
new Dolores Del Rio's chances at the boxoffice! Tired of being a
"native girl," she bobbed her hair, had a permanent and put on some
swanky clothes before facing the camera for RKOs "Dance of Desire"

Clarence Sinclair Bull

GRETA GARBO as Queen Christina is impressively beautiful.
And throughout the picture no detail of setting or costume to make
the role more dramatically effective has been overlooked. The three
lighted tapers, the rich background of wood, the graceful folds of
Christina s gown, lend this portrait elegance and beautiful simplicity

^to*'"*

•>»«- "<H-

*r~. ■•"«,-, *<>/>„ ""V. "iff.

e/"~ °/)w S1'f

%«,■

"'^ **6,

^;>*.

x ***

Af/>

*Ofy

o ,. 'ok

<**

'o.

'O/v,

<v„

"o*

**.

*©/,. '°»

'40. **<

ro//

*>r

">q<

.-Hd

Lovely GLORIA STUART. How important the role her hands play! Try Hinds Cleansing Cream, too. ..by the same makers. De

\A/:»u irMJKi onicc :_ i imi\/cdc a i -c

i: />_. :_.*__ii.. o__». _..i j:_ii in. jin.. X'

Will Walling. Jr.

WHEN a feller needs a friend, he's likely to find his dog a most encouraging buddy.
That's why Herbert Marshall was happy to greet his sad-eyed setter on returning
from Hawaii where he worked in Cecil B. De Mille's "Four Frightened People." Marshall
brought his dog all the way from England, but studio rules forbade taking him on location

;

Close-Ups and Long-Shots

DEVELOPMENTS in the Fairbanks-Pickford
drama are split three ways. First, Mary's
divorce suit has definitely been filed. Second,
both Doug and Mary are out of United Artists, which
was founded in connection with Charlie Chaplin and
D. W. Griffith. Third, the report comes from London
that, despite the severing of his domestic and business
ties in Hollywood, Douglas is going to return to Cali-
fornia. With the announcement that she was filing
suit for divorce, Mary stated she would retain Pick-
fair, the home she and Douglas built over ten years
ago.

The combined interests of the two in United Artists
have been bought by 20th Century Pictures. Joseph
Schenck and Samuel Goldwyn are the purchasers of
their large holdings.

IT is unthinkable that Lee Tracy's little Mexican
escapade may go down in history as another Fatty
Arbuckle tragedy. It seems fantastic that a profes-
sional career, built after years of endeavor, should
summarily be tossed on the ash heap for so trivial an
offense.

If the Tracy incident had occurred in the United
States, the whole matter would have blown over in a
week. Undoubtedly Mexican newspaper enterprise
was largely, if not altogether, responsible for the
attitude taken by the Mexican government. The
parading cadets, whom Tracy is alleged to have in-
sulted, appeared to have taken the matter lightly but
when the press of the capital found good copy in the
incident, the hue and cry for the Americano's scalp
arose.

THAT Doug, under these circumstances, should
consider returning to California may come as a
surprise to many. His two thousand acre citrus ranch
will, it is said, be his future home and he will build a
house there consistent with the fortune he has accumu-
lated as motion picture star and producer.

This report, though in variance with Doug, Jr.'s,
statement that neither of them would ever return per-
manently to California, is, nevertheless, compatible
with his father's restless spirit. The quiet peace of the
English country-side and too constant association
with the formalities of Britain's upper classes may
possibly be getting just a little bit on Doug's nerves.
He has spent more time on the continent than in
England. He took shots in Spain for his forthcoming
picture, "Exit Don Juan, " and found diversion in the
lofty peaks of the Swiss Alps. The elbow room to be
found in Southern California may look very inviting
to Doug.

MEANTIME, Mary has kept herself busy with
social and other activities. It is her ambition
to add to her laurels by presenting a stage play on
Broadway.

Observers say that the rift between her and Doug
began with the making of "Taming of the Shrew"
in 1929. Shortly after Doug took his first trip alone
and then the whispering began that all was not well
at Pickfair.

And Hollywood is now busily conjecturing what
the next chapters may be in this tangled life drama.

THE episode seems to have more significance than
is apparent on the surface. The conjecture that
the Mexicans object to the filming of the story of
Pancho Villa may not be far from the mark. It is true
that a press report states the Mexican government
authorized the making of this picture, but it may be
that this authorization was later regretted. Tracy's
prank offered a splendid opportunity to revoke the
official sanction.

It is a well-known fact that Mexicans have always
resented the portrayal of Mexican villains on the
screen. Nearly five years ago in "In Old Arizona"
Warner Baxter, though cast as a typical stage Mexican
"bad-man," remarked he was of Portuguese extrac-
tion. A fortunate coincidence with respect to film
markets across the Rio Grande.

JUST after the trouble broke and the public was
uncertain as to the facts in the case, a "trailer" of
the picture "Advice to the Lovelorn" featuring Lee, was
shown in a Los Angeles theater. Some of the audience
hissed.

However, a day or two later, when there was a
greater knowledge of the facts in the case, Lee's ap-
pearance on the screen was enthusiastically ap-
plauded.

I believe that Lee Tracy is too good an actor and
too popular a one to remain long in seclusion.

On page eight of this issue are a few of the many
letters received, in which Tracy devotees ask that he
be reinstated in his proper position.

AL COHN, scenarist of a host of films, several of
them markedly outstanding, is the new Collector
of U. S. Customs at Los Angeles. You remember the
early "Cohens and Kellys," "The Cat and the
Canary," "Cisco Kid," and the first feature length
sound picture, "The Jazz Singer." They were just a
few of Al's screen output.

His new job as Customs Collector is no sinecure. It
is a position demanding an unusual knowledge of
human nature and the breadth and diplomacy of a
statesman.

Keep your eye on Al. FrOm now on you'll hear a
lot more about him in public affairs.

REMEMBER Stepin Fetchit, the tired colored
boy?

Step is back in Hollywood, working with Janet
Gaynor in "Carolina." But he had an awful time
getting there.

At the peak of his success, Step had three lim-
ousines and three uniformed chauffeurs. But that was
then. Recently, he found himself broke, in Tampa,
Florida. A wealthy insurance man gave Stepin a
four-year-old limousine, and enough money to get
back to Hollywood.

MOTION pictures have stepped officially into
education. More than 17,000 high school
teachers are united under the banner of the National
Council of English Teachers to use the talkies as a
medium of English education. Those with an his-
torical basis are preferred, such films as "Cavalcade"
and "Little Women," rich in historical background or
depicting manners and customs of a past age.

Says Carl E. Milliken, secretary of the Motion
Picture Producers and Distributors of America:

"First, there has been a definite desire on the part
of teachers to link up education more closely with life
than it has been — and the film is certainly the logical
answer to that.

"Second, there has come about a realization that
the children of today are capable of taking the equiv-
alent of literature out of films instead of books.

"Third, the experimental work which has been con-
ducted over a period of two and one-half years on
teaching with films has set the educators to thinking
how best to utilize the motion picture, and because
in a majority of instances they have not been able to
obtain the necessary equipment, they will turn to
the theaters for their instruction.

"Fourth, and possibly the most important of all,
is the fact that the motion picture offers the most
uniformly interesting educational material for students
of all types and mentality. The children prefer it
and the teachers do not have to stimulate their
interest because it is there already. All the teacher
has to do is utilize that interest motive power.

"Finally, teachers have become conscious of their
responsibility in helping to steer children's use of
their leisure time."

But what has become of the superstition that
movies are subversive of intellectual taste?

SHAKESPEARE may ask, "What's in a name?"
but Hollywood will tell you there's plenty. Espe-
cially the names of pictures. Many a good picture
has been utterly ruined at the box-office with titles
that simply didn't appeal to the public, or with names
that misled the theater patron into believing the pic-
ture dealt with subject matter that didn't seem
attractive to him.

FOR instance, M-G-M executives experienced the
greatest shock of their lives recently when "Bomb-
shell" failed to click in the manner that had been
expected. A check-up revealed that over half the
public thought it was a war story, and war stories
are not in popular favor. The studio hurriedly
changed the title to "The Blonde Bombshell," but
too late to reap much of a harvest from this really
outstanding film.

Paramount experienced the same thing with its
"Mama Loves Papa." A grand little comedy, such
as the public loves and it was a box-office disappoint-
ment simply because the title conveyed the idea it
was just another bedroom slap-stick comedy.

Yes, a good picture name means plenty — of jack.

WESTERNS used to be the backbone of prac-
tically every studio in Hollywood. Independent
companies depended solely on them for their existence.
But they will soon be a memory of the past, like the
cowboy they so dramatically depicted.

Hoot Gibson is out, George O'Brien on his last
picture at Fox, Tom Keene left Radio several months
ago for stage training to fit him for dramatic roles.

There is many a man who will regret the passing
of the old.

EVERY time a producer goes abroad he signs up
some foreign actor. "Winnie" Sheehan, holding
to this rule, has returned with Ketti Gallian, young
French actress, under contract for "Marie Gallante."
He has also signed Pat Patterson and Hugh Williams,
both of whom are English. Lilian Harvey has been
no knockout in her first two American pictures.
Dorothea Wieck was highly praised for her work in
" Maedchen In Uniform," but has been damned with
faint praise for "Cradle Song." Wera Engels and
Tala Birell didn't cause a ripple in Hollywood. It
remains to be seen what Anna Sten will do in "Nana."
Kathryn Sergava, who was kept under contract to
M-G-M to take Garbo's place in case she didn't come
back, has been signed by Warner Brothers.

With the small percentage that ever make good,
what is it that brings the actors to this country?
With the present rate of exchange, the money is not
what it was at one time.

Kathryn Dougherty

2C>

Photoplay Magazine for February, 1934

as presented hy WANAMAKER'S, ]tfew York.

>vith the special cautions "Wash lingerie

with IVORY FLAKES"

If pretty lingerie is your weakness,
you'll have a gorgeous time in Wana-
maker's. See the tempting fashions
which are shown above! You can look
elegant in a satin nightie (1st girl) or
romantic in the "Song of Songs" (2nd
girl). You can frou-frou in a "Lady
Lou" slip with a lacy jacket (4th girl).
Or lounge in negligees of satin or crepe
that satisfy your love of lace (3rd and
5th girls)!

But don't let your attention wander
when Wanamaker's tells you how to
keep them fresh and lovely. "Use
Ivory Flakes and lukewarm water!" is
very practical advice!

Buyers know the danger of using even
slightly too-strong soap flakes. Colors

rr«»«lii> r's (safest and
'»•«««**»' value in
fine fabrics soap
9 944/ioo°/o Pure

go — silk is dulled. Only pure gentle
soap will keep silk like new. That's
why salespeople favor Ivory.

In case you haven't sharpened your
eyes, let us remind you that Ivory
Flakes are curly flakes of pure Ivory.
They don't take their sweet time about
dissolving — like ordinary flat flakes.
Ivory Flakes do not mat onto silk, like
those "other" soap flakes. The danger
of soap spots and fading is gone!

The best comes last! Compare
boxes, weights and prices — and you'll
see that any other fine fabrics soap
costs too much. Ivory Flakes comes in
bigger boxes that give you more soap!

UNDRAPING

By Ruth
Rankin

ILLUSTRATED BY
KR\NK DOBIAS

"O. Hollywood isn't
a nudist colony.

It still clings to
three sequins and
half an ounce of chiffon. Every screen musical is loaded
with slightly clad beauty.

And it's not only the chorus girls who have been reveal-
ing their charms.

The stars are doing it, too!

Never before in the history of pictures have stars holding a
position comparable with that of Joan Crawford, Clara Bow,
Lilian Harvey, Mae West, Gloria Stuart, Ruth Etting or Ginger
Rogers, consented to appear before the camera in such scanty
attire. And thereby they have started a revolution— a revolu-
tion in fashions for women — which will be felt and seen — par-
ticularly seen — 'round the world.

We have beheld a lot of Joan Crawford in a number of
pictures. But in " Dancing Lady," we saw her in the briefest

panties and a mere whisper of brassiere — and a gardenia. The
gardenia was removed when the shot was taken. It was jusl
there to stimulate her morale. Joan wanted no visitors on the
set at the time. The whole world was going to see the picture
and a full orchestra, plus a crew of twenty, was quite enough

With stars wearing three-ounce costumes.

HOLLYWOOD

In 'Roman Scandals" two regal and dignified ladies named
irree Teasdale and Ruth Etting wear a costume that has its
11 local Hollywood name. There is considerable hiatus be-
een where the top ends and the skirt begins. The chorus in
e number in that same picture is not very substantially

Never before
have famous
stars appeared
before the movie
cameras in such
scant attire

clothed in long flowing golden
locks, a la Lady Godiva.
Without the horse.

Clara Bow revealed her new
low of 118 pounds almost in its
entirety in "Hoopla."

And in the fan dance num-
ber in "Sitting Pretty," Ginger Rogers wore a two and a
half ounce costume (plus fan), which was so frank that
she refused to allow any still pictures to be taken.

Claudette Colbert wore lots of skirt, but no top worth men-
tioning, in "Torch Singer."

And every schoolgirl knows what Mae West is doing.
What will be the effect of this wholesale undraping on the
new fashion trend?

It is an axiom, scarcely needful of repetition, that pictures
and stars make styles. Look what "Letty Lynton" did to our
shoulders — and regard the effect [ please turn to page 113 ]

ashions for women are going to change!

Clarence Sinclair Bull

ESTHER RALSTON, who left pictures to troupe in
vaudeville, is making her screen comeback. Good
work she did in Universale "By Candlelight," and she
has a contract with M-G-M tucked away. Esther went
on the stage at the age of two. She's bound for the front!

Power Behind

the

Here's the real secret of
all that weird bally hooing

By Wilbur Morse, Jr.

THERE have been many tales told of Hollywood celeb-
rities who have turned social climbers and skinned their
noses.

This is the story of a girl who reversed the plot, an
attractive young heiress from Manhattan who snatched at the
brass ring in the mad merry -go-round of the movies and caught
it.

It was not fame for herself she sought. It was to learn if she
could outsmart the ballvhoo artists in their own field of bluster-

Katharine's every eccentric move is just so much play acting
and Laura Harding is her competent scenarist and director

The smile of achievement. Her job done, Laura
says goodbye, as Hepburn leaves Hollywood

ing showmanship, put on a better act than anyone
else in the versatile vaudeville revue they call Holly-
wood, that this imaginative young lady invaded the
film capital. She backed a likely young racer in the
Hollywood handicap and brought her charge past the
judges' stand — a winner.

Today, back in her big Fifth Avenue house, this girl
is sitting, content with the knowledge that hers was
the guiding hand in one of the most spectacular screen
careers the movies have ever known.

It was just as Katharine Hepburn was deserting the
top rung of the movie ladder to return to the New
York stage for several months that Hollywood realized
that — behind the sudden [ please turn to page 107 ]

"Can A MAN LOVE Two

"The woman a man loves represents the acme of perfection," says
Gary. And Mr. Cooper smiles at his own "acme of perfection"

Gary Cooper, Holly-
wood's greatest and
most gallant lover,
answers this question

By Virginia Maxwell

THE tall, handsome, he-man Gary sat back
in a huge chair in his New York hotel and
let one of his long legs dangle over the
other. I suppose I ought to give the girls
a treat and tell them that their favorite screen
lover was in his pajamas — orchid silk with a white
stripe, beneath a very good-looking white flannel
lounging robe. Well, I will tell them, for he was.
It was 10 a.m. and Gary was ready for breakfast.

What with Gary declaring he had earned the
right to make his own decisions; arrange his life
and his love to suit himself, and that no influence
could change his mind about anything touching
his personal life, we were prepared to find him
in a very independent state of mind.

His engagement to Sandra Shaw had just been
announced by her parents.

"We've come to ask you a lot of very personal
questions," was the opening volley. Gary Cooper
blushed a little, picked up a menu and hastily
ordered breakfast. A man's sized breakfast with
oatmeal and cream and crumpets and ham and
eggs and — well, you know Gary hails from the
wide open spaces and he eats breakfasts like
rough-ridin' cowboys.

Over these homey vittles, we chatted about
love and life and the things most of Gary Cooper's
admirers might like to know. Gary is not easy to
talk with; he seems fearful that he will be misin-
terpreted, a little bashful when trapped into a
direct answer touching any of the personal things
in his life — such as Sandra Shaw.

""NV'ES, I'm engaged," Gary admitted, "but just

i- when the marriage will take place is uncer-
tain. Maybe three months, perhaps not before six
months. We have set no definite date, for various
reasons."

Just at this moment Gary was lifting a spoonful
of his oatmeal and I noticed a slender platinum
band on his small finger.

"Does that ring explain the mysterious trip to
Yuma; the trip the newspapers wrote down as
your wedding trip?"

Gary seemed a little embarrassed; he studied
the menu card.

" Gosh, every time anybody goes to Yuma the
press immediately conclude they've gone to get
married. What I'd really like to know is why
every Yuma wedding report says they had to get
the sheriff out of bed. Sheriffs must sleep all the
time down there," he laughed.

"But the ring, Gary. How about that?"

"Oh, that. It's merely a ring-guard. I wear
it to keep this Indian ring from slipping off.
That's all."

"Well, now that that's settled, let's find out
what you think about this business of being in
love with two people at'the same time. We mean,
of course, the sort of theme worked out in ' Design
for Living.' "

Women at the Same Time?

•>•>

" I believe two men could love the same woman,
but not for a very long time," he explained.
" Life is too drab a proposition to continue the
gay, light manner such a situation would require.
It could go on just so long as neither of the men
took their love seriously.

"Men," said Gary, "have always shared a fine
fraternal spirit with each other and this, very
often, is more precious to them than the love of
the woman which might split up their friendship.
But if that love were to become an all-consuming
passion, a man's primitive instinct for possession
and protection would surmount everything else.
And the other man, who also loved this woman,
would become his bitterest enemy. They'd detest
each other, I think. That's the way instinct
would have it."

"But how about a man being in love with two
women at the same time? Do you suppose the
reverse order of ' Design for Living' would be
possible?"

Gary looked straight at us, a little suspiciously,
then his good-looking face broke into a smile.

"You mean the reverse order of the 'Design
for Living' situation?" he made certain.

"Yes — or any similar real life situation."

"No, I don't believe a man can really love two
women at the same time," he said, after thinking
it over a while. "Not if it's really love. As I see
it, the woman a man loves represents the acme of
perfection. He sees her as a combination of all

As this issue goes to press, word is received that Gary and
the lovely Sandra Shaw have been married in New York

the desirable qualities he's ever found in anyone else. It may
be an illusion, of course. But while he's in love, he sees only
one woman's perfection. And to her, he would compare any
other woman he might meet.

"You know," Gary went on, "I get all mixed up about things
sometimes. I try to figure out life's little ways, and when I get
so baffled I don't know quite what to do, I pick up 'Alice in
Wonderland' and skim through it. Then I conclude that life
really is just about as cock-eyed as Alice found it, too."

About this time the telephone rang and Gary went to answer
it, taking long strides across the room as though he were very
eager for that call.

AND if you've ever heard Gary's voice soften in his talkies
when he speaks to the girl of his heart, you should have
heard the well-known Cooper cadence that morning. No one
tried to listen, of course. But it just couldn't be avoided over-
hearing the tender little things Gary said to a lucky girl on
the other end. Obviously, that girl was Sandra Shaw.

Gary's tender solicitude toward Sandra formed the first real
doubt we had that he would remain a bachelor as long as he
had predicted. Maybe by the time this story reaches print
Gary will be honeymooning somewhere in the South Sea
Islands. For he confessed an overwhelming desire to live there
for a while, "far out away from everything and everyone,
where a man can be close to the elemental things of life . . ."
was what Gary really said about that anticipated trip.

"I want to travel everywhere, to taste life in the raw as well
as in this ultra civilization," Gary nodded toward Park Avenue
below. "Frankly, I like both [please turn to page 119]

G. Mailhird Kesslere

Sylvia, modern miracle worker, has helped
keep many of the stars on their pedestals

DEAR Clara: I've just seen you in "Hoopla."
and I think you're great! You're that regu-
lar hot-cha Bow again with just enough dramatic
scenes to show how good an actress you are. But
I'll let your reviewers and dramatic critics tell
you about that. I've got another message for
you, and although I'm talking to you exactly as
I'd talk face to face, I want all the other girls and
women to listen in, too, because what I've got to
say will also help them.

Are you all set? Can you take it? Well, here
goes!

You have glorious eyes, Clara, but I'm going
to tell you how to make them ten times more
glorious. Remember in your picture "Hoopla"
when Minna Gombell says, "With your eyes you
can draw the ducks off the pond"? If you'll do
what I say, you can lure the swans off the lake
and the battleships off the ocean. Because,
right now, Clara, your face is too fat. And
you've got to do something about it. That's
why I'm writing to you. I know exactly how
you can take off the excess plumpness on your
face and make your eyes a million times more
lovely.

Look at yourself in the mirror, darling. Look
at your heavy cheeks. Now listen to me while
I tell you something I've never told anyone be-

Sylvia Gives

Clara Bow

Some Timely

Advice

fore. I've done this trick to the opera singers, Mary Lewis and
Jeritza, and to lots of society women. But I've never told
anyone about it. I'm telling you, Clara, for your own good.

This is the way to take that fat off your cheeks. This is the
way you, or any other woman, can do it.

With the thumb and forefinger of both hands, lift the
muscles just above the jaw-bone away from the bone. Don't
stretch the skin, just gently lift up the fat as if you were going

to pinch your own face.

A slumping posture like Clara
used in "Hoopla" causes a
hump at the top of the spine

Get the idea? The muscle
is lifted away from the
jaw and there is a ridge of
skin on top. Now slowly
work in a progressive
movement with your four
fingers — the thumb and
forefinger of both hands —
working from the chin to
the ear, gently squeezing
the muscles. Don't touch
the bone, and leave the
ridge of skin alone. Just
squeeze, gently, into the
muscles.

If you'll do this every
day for ten or fifteen min-
utes— but go slowly at
first, because your face will
be sore — you won't know
yourself in |a couple of
months. I know you can
do it! I've done it many,
many times.

So I'm telling you the
trick, and the rest is up to
you.

I KNOW what I'm talk-
ing about, because thou-
sands of readers of Photo-
play have told me that
my suggestions work, and
if these girls and women —
and they're your fans,
Clara — if they can do it,
so can you! I'm sincere,
and I'm trusting you to
heed my advice.

Start working on that
jaw the minute you read
this, Clara. But wait!
I'm not through with your
face.

Your nose is grand_

Don't touch it, but on either side of your
nose, right up close to your eyes, is a slight
plumpness that should be taken off, and it
can be done so easily. Use the forefinger
and middle finger of each hand and — with
just a little cold cream on the fingers —
pressing very gently and with a rotary
movement, work away from the nose and
up towards the outer corners of the eyes.
Don't stretch the skin and don't start this
until the jaw-line is well under way. Hon-
estly, Clara, when you've done these things
you're going to be solovely and so beautiful,
because you've got everything to work with.
I've always admired you, Clara, for your
spunk and for the way you wouldn't let
anything get you down. You've shown
courage all through your life. And you're
still showing it. The way you've given up
all that Hollywood nonsense for a fine out-
door life on the ranch. And your adopting
those two kids. I think it's great! But
you can't stop there. You've got to work
on your figure now, because you can't let
your admirers down.

DON'T forget that you're an idol to mil-
lions of women. They think you're
beautiful — and you are — and you can't dis-
appoint them by appearing in your pictures
any way but perfect. How long do you
think they'll idolize your appearance if
they, themselves, have a better figure than
you have? This is common sense talk,
Clara, and you know it! And your devo-
tees, who have been reading my articles,
have pitched right in and taken fat off
their bodies. You've just got to do the same.
You can't let them get ahead of you.

Besides, most of the girls in Hollywood
have "weight clauses" in their contracts.
The producers know that the stars must be
slender. The studio execs tear their hair
when they see you girls putting on weight.
And that's pretty tough on the thin-haired
executives!

^JbLA

Above: Clara's eyes would be even more beautiful if her face
were thinner — and that's an easy job, says Sylvia. Left: the
slump hump can't be hidden, but Sylvia tells how to lose it

Another thing you've got to watch is that "old woman's
bump" on the last vertebra at the top of your spine. You're
just a kid. You're not old enough to have that, and you've
got to get rid of it. Now, I know that in "Hoopla" you were
slumping because that was part of the characterization, but
slumping is an easy habit to form, so be careful that you don't
do it in real life. Slumping makes an "old woman's bump."
Now you've got to get rid of it. And it can be done, too. I
know! Because I had one once myself and I got rid of it.
And here's the way.

Lie on the floor on your back with your arms above your
head, backs of the hands lightly touching the floor. Relax.
The trouble with most people when they do a lying down
exercise is that they stiffen up. Well, don't do it. You're not
going to break. Use your brain and remember that even while
you're stretching and even while you're doing this exercise
you must be relaxed.

Now stretch your arms and you can feel those shoulder-blades
coming together. You can feel that "old woman's bump"
moving. Atta girl! That's [ please turn to page 112 ]

And dont miss Sylvia's personal answers to girls, on page 1121

By Frazier Hunt

Who has interviewed
kings and presidents
but never before a
motion picture star

:.1

mmtammmKKBm

The indefatigable star who is not content to be just a famous
actress. Most ambitious, Joan trains herself for greater

movie
roles

street costume, I saw how unnecessary my fears
had been; we both spoke the same language.

It was a language that had to do with people
and their hearts — their dreams and their longings.
It had to do with mutual friends and the hidden
qualities that made them lovable and remem-
bered. And it had much to do with happiness
and tomorrow's work.

At the very first I wasn't sure we were going to
get along. During those initial thirty seconds she
was very much the grand screen star. She had
just faced a crowd of admirers on Fifth Avenue
who had surrounded her, and there had been a
little shoving and pressure. With her great, wide-
set blue eyes flashing, she told me that she
suffered terribly from claustrophobia. I believe
that was the word. I know I thought to myself
that it was a very big word for such a little person
to use.

I CAME away feeling, as Chic Sale would say, "Jes' good —
jes' good all over."
In this mad, swirling world of today 1 had found a person
utterly happy. Her name is Joan Crawford.
It was a strange and exciting interview. For almost twenty
years it's been my business to talk to people, big and little — to
try to find out what's behind their fronts, what they're really
thinking. I've interviewed kings and presidents, generals and
revolutionary leaders, bandits and bankers — but never before
had I interviewed a motion picture star.

As a matter of fact, I felt just a little bewildered when I
pushed the bell of her New York suite. But a half-minute after
she'd stepped into the sitting-room in a chic black and white

VE had it ever since my brother locked me in
a dark closet when I was a child," she ex-
plained. "And it always frightens me now to be
hemmed in — whether by walls or by a crowd."

She settled back in the corner of the great
divan and pulled her skirt well down over a pair
of very lovely ankles. "Hope you won't mind
my wearing mules," she said with a quick smile.
"My poor feet are worn out from shopping."
"I don't mind at all," I hurriedly answered.
I wanted to tell her the story about Mark
Twain — but I passed up the chance. Remember
it? Someone was complaining to the great
Missourian that Lillian Russell was appearing in
a current show in tights. " My dear friend," the
incomparable Mark answered, "I'd rather see
Lillian Russell without any clothes on at all than
General Grant in full uniform."

I wish now that I had told it to her. I know
that she would have chuckled over it. But in-
stead I made some inane remark about how hard
it was to get around New York these days. And
then out of the blue sky — or rather down from
the golden ceiling — dropped the name of Odd
Mclntyre. We both pounced on it at the same time.

"There may be greater O. O. Mclntyre admirers than I am,
but if there are I've never met them," Joan said eagerly. " For
four years I've saved every single column of Mr. Mclntyre's
" New York Day by Day." I've had a special scrap-book made
for them and I paste every one of them in myself. And let me
tell you that until I get my coffee in the morning I'm a fit com-
panion only for a sore-toothed tiger, but I have to read O. O.'s
kindly philosophies even before I touch my coffee."

Then I told one. I- This past summer out in Great Falls,
Montana, a little priest rushed up to me and pumped my hand.
"I never thought I'd really get to meet you," he exclaimed
breathlessly.

"I want to go on and on with my work. My next picture is to be 'Pretty Sadie McKee' — and I'm all ready for my big
chance. I'd like to do 'The Merry Widow' with Maurice Chevalier, and with Irving Thalberg to supervise it"

I could feel my chest swelling. Here at last was my loyal
reader-admirer I'd been looking for all these years. Then he
popped me over the head: "Of course," he explained, "I've
never actually read any of your pieces or heard you on the radio,
but for years I've followed you in 0. 0. Mclntyre's column."

Joan was sympathetic. "How lucky you are to know him so
well," she said rather wistfully. "It's strange, but I've only
met him once, and then at a large party. But to me he's a very
fine writer and a great soul."

"Wonder what it is that gives him his tremendous follow-
ing?" I queried.

She hesitated, then answered: "I think it's because he is
always so gentle about everything."

That second I knew I was going to like her immensely. She
had said a wise and beautiful thing about a friend.

"Tell me about your pictures," I pleaded. "Honestly, I
don't know the first thing about them. For instance, what do
you want to do?"

" I want to go on and on with this wonderful art. Then some
day I want to go on the stage. I want really to be a very great
actress. I'm willing to work hard to do it. I'm ready to give
years of my life."

"But the stage is old-fashioned," I insisted.

"Yes, but it will always be a great magnet that will keep
pulling at us all. I want to feel the thrill of a real audience. I
work for weeks and weeks on a [ please turn to page 1 14 ]

AST

f*4^y

• •

Once the highest paid Hollywood star and a
world-wide favorite, Tom Mix has also de-
serted the screen because Westerns don't pay

*S*

hoisted their silver-mounted saddles up to the
rack of Western retirement alongside the dusty
bridles of Buck Jones, Hoot Gibson, Tom Mix
and Bill Hart. They've coiled their lariats over

"Bronco Billy" Anderson, as the very first
daredevil cowboy, supplied the movies with
some of its earliest thrills. But Anderson retired

THE jingle of Chihuahua spurs and the rustle
of chapparajos is unfamiliar music to Holly-
wood Boulevard today. And fewer and fewer
• ten-gallon sombreros shed from lean, wind-
tanned faces the dying rays of the Western sun, whose
every setting seems to signal the eclipse of the most
colorful, the most typical and at one time the most
important of all screen figures — the Hollywood cowboy.
It looks like Hollywood is heading for the last
round-up.

For only within the past few weeks two of the three
remaining rough riding stars have forsaken "West-
erns." George O'Brien and Col. Tim McCoy have

William S. Hart made over a million dollars as a movie cow-
boy. He is now resting and dreaming of past screen adventure

Round-

The day of the color-
ful Western drama is
past, and only one
lone cowboy is left

By Kirtley Baskette

the same peg where hang the neglect -stiffened
ropes of Jack Hoxie, Art Acord and " Bronco
Billy" Anderson.

And today in the town where fifteen years
ago one studio, alone — Universal — had forty
two-reel Westerns in production at once;
where ten years ago a Western picture, "The
Covered Wagon," was acclaimed one of the
three greatest films ever produced; where at
the same time a purely Western star, Tom
Mix, signed the most fabulous contract of all
time — today, one lone cowboy star, Ken
Maynard, is riding, shooting, roping and res-
cuing in genuine Western action plots for the
camera.

The Western, which for the past two dec-
ades and more, ever since "Bronco Billy"
Anderson glorified the range rider for the old

Hoot Gibson, whose deeds of daring thrilled thousands and
made him a national figure, recently filed a plea of bankruptcy

Ken Maynard rides alone — the last Hollywood
cowboy. Will he be able to keep alive on the
screen the colorful legends of the old West?

Essanay company back in Chicago, has supplied the
backbone of the movies; has kept the gates of more
than one studio open with its sure-fire revenue, and
provided the training school for many of the screen's
leading lights, both male and female — the Western
"horse opera," which was the first type of picture
Hollywood ever produced prolifically; which first
spread its fame to the four corners of the globe ; which
made all foreigners believe that every American
wore a sombrero and toted a six-gun — this "cowboy
thriller," the only purely native type of drama
Hollywood ever produced, seems definitely destined
for early extinction.

Headed for the last round-up!

Time was when you couldn't walk through the
old "Water-Hole" district on Cahuenga Avenue,
off Hollywood Boulevard, without snagging your
trousers on the silver spurs of one of the milling
cowpokes hanging around. For, only a few years
ago, from five-hundred to a thousand bronc-busters
were working steadily. Now if twenty work one day
a week, it's a boom season.

And the "Water-Hole," with its score or more of
leather workers, silversmiths and saddle-makers,
who used to stay up nights fashioning the decorative
boots and belts and silver buckles, dear to every
cowboy's heart, has dwindled to one lone boot shop

where English riding boots and polo equipment now constitute
the major business.

The cowboys themselves, many of them, have returned to
the range to their forty-a-month and grub; others still wander
around town, unable to forget the golden days, hanging on with
other kinds of extra bits, working in riding academies, and on
"dude" ranches. A few work in Westerns — -only a few.

And the stars —

"Bronco Billy" Anderson, never a real cowboy, but a screen
daredevil who dressed in Western garb, is retired and living
in San Francisco. "Wild Art" Acord, who used to fight all
comers in the old corrals at Universal City, just for the fun of
it, was killed a few years ago in a knife scrape in Mexico. Bill
Hart, the Eastern stage actor who never did learn how to ride
a bucking horse, but who made over a million dollars as a two-
gun avenger, battles ill health on his Newhall ranch, near Holly-
wood, and dreams of his glorious screen career which reached
its apex in "Tumbleweeds."

Tom Mix, the greatest of them all, who made his first
"flicker" in 1911, and who signed one of the most amazing
contracts ever made with Fox — for $10,000 a week and per-
centages totaling another $5,000 — retired from his Universal
contract last year and embarked on a personal appearance
tour of one-night stands.

Mix, the first genuine cowboy to become a screen star,
epitomized the glory of the Western by becoming not only the
highest paid and at one time the most independently wealthy
of all Hollywood's luminaries, but by his unerring showman-
ship, making the whole world cowboy-conscious. A former
frontier marshal, soldier of fortune and ranger, he was toasted
by royalty abroad, kept his horse, Tony, in the swankiest of
European hotels and enjoyed an international opulence known
to few of the cinema's past or present great.

NO less than sixty-nine of his leading women, he ushered
first into acting importance. The long list includes such
names as Barbara LaMarr, Colleen Moore, Billie Dove, Clara
Bow, Laura LaPlante and (believe it or not) Ann Pennington!
And today, at somewhere between forty and fifty, Tom Mix

is practically as good a man as he ever was, still fit for his re-
markable riding stunts — but his last pictures didn't make
money . This last year has seen him approaching financial straits.

Hoot Gibson, another dyed-in-the-corral-dip steer wrangler,
and one-time winner of the coveted Pendleton championship,
has been practically out of pictures for two years. Recently
he entered a bankrupt plea in a Los Angeles court.

Buck Jones, who came from the "101 Ranch" to the screen
via the big top, was forced to do "straight" parts last year.
During his palmy days, Buck built up an organized following
of over three million members in his "Buck Jones Rangers"
club. It is still active, but the members are having a hard
time seeing Buck on the screen in his old ranger roles. He
doesn't do them any more.

EVEN the fledglings, Tom Keene and Randolph Scott, have
headed their horses over the hill with the setting sun. Tom,
who made horse operas for two years for RKO-Radio has now
taken back his former name of George Duryea, and trimmed
down his sombrero for straight romantic roles. Randy Scott's
run of Zane Grey stories is finished and Paramount has given
him no more Western assignments.

Now, you ask, why is all this?

Is it because the kids refuse to be kidded by out-dated
Western gunmen? Is the horse passe? Is the young American,
and old American as well, too sophisticated, too modern to get
a "kick" out of a plunging mustang or a six-gun duel, any
longer?

Possibly. Yet, the fiction magazines are full of Western
stories. Western books are still popular. True, the West,
the wild West is gone — it was gone before a moving picture
camera was ever invented — but its legend and romance are
not; its hardy, interesting characters are not.

Ken Maynard, who came to pictures as a trick riding
champion from a wild West show and stayed to make and keep
more money than any of his predecessors or contemporaries,
and who remains as the sole active and exclusively Western star
in Hollywood today, has some ideas on the subject.

[ PLEASE TURN TO PAGE 98 ]

Claudette Colbert and Clark Gable are ready to go— baggage and all. But they don't seem to be in a great
hurry. Director Frank Capra is giving them advice on the side. The trio are working on "Night Bus"

Clarence Sinclair Bull

PRETTY Polly — and pretty Lupe — finish off their swim with a
little conversation. The parrot is only one of Lupe's many pets.
She has two doss, a cat, several birds and a whole school of sold
fish. The combination makes some of Lupe's suests nervous. They
expect the doss to chase the cat, and the cat to eat the birds

"THOUSANDS were tested, and Ann
• Sothern was chosen. It will be her first
movie, too — the lead in Columbia s mu-
sical, Lets Fall in Love. Ann comes
from Broadway. Her name there was Har-
riette Lake. Studio officials said the name
was too cold and formal to bring her movie
fame, and so advised her. So she chose
Sothern because of her esteem for the
late E. H. Sothern, Shakespearean actor

MR. EDMUND LOWE is usinS all his
powers of persuasion, but Ann can t
quite make up her mind. In Let s Fall in
Love," Ann is a young girl, working in a
circus concession. Eddie, as a motion
picture director, sees her there, and begs
her to place herself in his hands and let
him train her for stardom. But the proposi-
tion sounds a bit suspicious to Ann, and
she won't give him an answer in a hurry

"Let's Fall in Love P
It's the name of the
show — not an invita-
tion. But it lured a
Broadwav blonde!

Photographs by
William A. Fraker

EDDIE points out to Ann all the excite-
ment of life in Hollywood — handsome
heroes, dancing feet, the grinding of cam-
eras, the Rare of Klieg lights, the joy of
fame. The impressionistic study of Holly-
wood in the background was designed by
William A. Fraker, Columbia camera artist.
It expresses the rhythm, the glamour, the
swift tempo which make up the scin-
tillating, varied pattern of the movie city

SO Ann is convinced. But it isn't the
exciting promises of Hollywood that
lure her from the circus. Nor is it the as-
surance of fame. Oh, no! At least, not
in this movie. Ann goes because she falls
.in love with Eddie! Of course, inciden-
tally, a star's salary will come in handy, and
it's fun to be famous. But "Let's Fall in
Love'' is gay and delightfully romantic,
and not to be bothered with high finance

Anthony Ugrin

IRENE BENTLEY got into the movies without trying. She went over
to Fox to watch a screen test and when a girl was needed for a bit
of action, jokingly offered her services. Fox officials noticing her in
the test, wired her to come to Hollywood. She left two days later
for a part in My Weakness, and is now playing the lead in Smoky

John, the

Great

What a show-
man and what a
wit Barrymore
proves himself

By Charles
Darnton

YOU have to call your shots with John
Barrymore. Usually, I do. But this
time, when he wasn't looking, I just
banged away and left myself right
behind the eight ball, with:

"Do you plan to end your career on the
stage?"

Of course, I knew he'd catch me at it. But
I choked on my beer in his dressing-room as
he raised a baleful eye from his Irish stew —
race will tell! — and bitingly observed:

"Up to this aging moment I had felt com-
paratively young. But your question has a
distinct, not to say disturbing, mortuary
sound. I am surprised at you, particularly
after giving you a glass of beer."

Silence fell on the scene and the stew alike

„

yji

It was a swordfish that, according to John Barrymore, took
him into pictures. At left, the inimitable John is shown
with lovely Helen Chandler in "Long Lost Father," for
which he was borrowed from M-G-M by RKO-Radio

as, with sudden loss of appetite, Mr. Barrymore stabbed a
jaundiced carrot, rolled a pallid onion over on its back, then
morbidly studied an anemic potato.

"It's the appalling finality of that phrase, 'end your career',"
he muttered. "Did you, if I may ask, remember to bring the
cyanide?"

In the desperate circumstances there was only one thing to
do, turn my unhappy question in another direction. And a
lucky turn it was, for it brought forth unexpected and momen-
tous news. [ PLEASE TURN TO PAGE 92 ]

CAT A ' The Monthly

YORK

Announcing

Broadcast oj

f^ ARBO may be the world to her public, but
^-^she sometimes makes it tough on those who
follow her around. The great Greta visited a
dude ranch near Victorville, California, not
long ago, insisting on absolute privacy until the
manager had to ask her to move on when the
rest of the guests complained about being
shooed out of the way every time she took a
walk.

""LTOW was the opening?" a friend
asked Jimmy Gleason, anent a
certain picture.

"Colossal!" declared Jimmy.
"Better than that — it was mediocre !"

OLLYWOOD'S heart went out to Isabel
Jewell during Lee Tracy's troubles in Mex-

"If only he'd been good 'till I got there,"
Isabel moaned.

In fact, she was all ready to leave for Mexico
when the news of Lee's arrest flashed through
to Hollywood.

Some friends, thinking to cheer her up, took
Isabel to a night club.

"Will you please play Lee's favorite?" she
begged the orchestra leader.

" Of course, " he said, " what is it? "

" It's ' Melancholy Baby,' " she said and wept
through the whole number.

You have to be a director to get in on a
job like this! There are strings to it!
Rowland V. Lee assisted Lilian Harvey
with lacing her boots for a rope-walk-
ing scene in Fox's "I Am Suzanne."
That's why the leather toes are forked

UP rushed the usual mob of autograph
seekers when Joan Crawford and Fran-
chot Tone stepped out of a New York
theater. Joan was near to getting writer's
cramp from scribbling her name on the slips of
paper thrust before her.

Suddenly she paused. The slip she was
about to sign was an I. O. U.

" I can't sign this," she said.

"Why not?" the man demanded impu-
dently.

Joan was still courteous. "I got into an awful
jam once for autographing a blank check by
mistake."

The fellow went away muttering about Joan
being high-hat.

"\X7HEN Evelyn Venable was
touring with Walter Hampden
in Shakespearean repertory, this hap-
pened in Baltimore. Evelyn came to
the famous line, "Hey, Nonnie,
Nonnie — "

And the gallery, as a man, chanted
back— "and a Hot, Cha, Cha!"

The old gentleman getting his beard trimmed is John Boles. Jack Pierce,
studio cosmetician, has just finished aging Boles with a little make-up.
The beard was for a scene in Universal's recent release, "Beloved"

Jf6

Hollywood Goings-On!

HpHERE was no more beautiful girl at the May-
fair Ball, Hollywood's greatest social event,
than Virginia Gilbert, Jack's wife. She wore a
gown of pink and silver lame with a long train, and
her blonde hair wound in braids about her
head.

A cape-wrap of silver fox completed the cos-
tume. In their party were the Countess di
Frasso and Lyle Talbot.

•"[""HE very first couple to arrive were Mr.
and Mrs. John Barrymore, a very hand-
some pair but who looked as if they wished
these things would get started earlier, so they
could go home.

Dolores was radiantly beautiful in a white
gown with a long train which she looped grace-
fully over her arm as she danced with her hus-
band— all alone on the floor, at first.

John was dressed in his soup and fish and ac-
coutered in bedroom slippers and dark glasses.

•THE most fashionably late arrivals were
George Raft and Carole Lombard, who
showed up around one a. m. and put on a tango
that stopped everything.

' I '\VO stunning examples of masculine physi-
cal perfection stood side by side at the
Mayfair, the same height and about the same
build. When they turned around, the im-

Fresh from his Mexican adventure, Lee Tracy arrived in Hollywood looking
happy. He's reassuring Isabel Jewell, who was waiting at the train gate,
that all will be well. Isabel and Lee are seen very frequently together

And twenty minutes later he was yell-
ing, "Help! I've been robbed!" Oh,
yes. It's good exercise that Mr.
William Gargan takes. And it keeps
him physically fit. But it does sort of
strew his valuables all over the lawn

pressed bystander discovered them to be
Johnny Weissmuller and Tommy Meighan.
Lupe wore black velvet with quarts of rubies.

T\ 7TIILE in New York, Joan Crawford, un-
vv wittingly upset, very, very much, another
famous star.

Marilyn Miller was doing those cute imper-
sonations in the Broadway success "As Thou-
sands Cheer," and one of Marilyn's specialties
is her imitations of Crawford.

But Marilyn didn't know the famous "Dan-
cing Lady'' was in the house, though the
audience did. And Joan was the cynosure of
all eyes, eager to see just how Joan was taking
it. Marilyn was getting no laughs and little
attention. It wasn't until afterwards she
learned the audience was too busy looking at
the real stuff.

XTO lover's spat was the breaking up of the
long Donald Cook-Evalyn Knapp engage-
ment. Neither has spoken to the other since
they stopped going together, although they
have frequently been thrown together.

Starry futures ahead, but

Cortez doing the minuet with the rotund Archie
Mayo. That afternoon they found out, for the
announcement of Ricardo's engagement to
Mrs. Christine Lee appeared in the papers.

They will probably be married by the time
you read this.

OURPRISING their friends in Hollywood,
.Alice White and Sidney Bartlett were mar-
ried at the old Pronto Ranch in Mexico. In
the ancient town hall, where many famous
weddings have taken place, and with the
governor of Mexico attending, little blonde
Alice became Mrs. Bartlett.

A ND Fifi Dorsay finally did it, too. Mau-
Vice Hill, son of a Chicago manufacturer,
was (and is) the lucky bridegroom.

MAE WEST has a new "chimp " to take the
place of the pet monkey that died recently.
"Chimp" learned to push elevator buttons
and life has become miserable for the elevator
boys in Mae's apartment. The monkey will
hop up and down stairs ringing for elevators on
every floor and running before the boys get
there. "Let the kid have his fun," smiles Mae.

T OUISE FAZENDA and her baby
"^have been resting at Palm
Springs. "I happened to glance out
of my window the first morning,"
Louise said, "and who was going by
but a Marx brother."

"What did you do?" she was asked.

"Do?" ejaculated Louise. "Why,
I grabbed the baby and hid with it."

D ALPH MORGAN went to see his daughter,
^■Claudia, in the Broadway play, "Thorough-
bred." But, how he wanted to get out! It

Shirley Mason, once a favorite star,
gave up her career and fame to take
care of her tiny daughter, Sheila Mary
Lanfield. When urged to go back on
the screen, Shirley laughs and says,
"No, thank you. I like this job better !"

/^ORA SUE COLLINS, little six-year-old
^^actress working in "As The Earth Turns,"
paid a great deal of attention when she heard
that Sarah Padden, who plays in the same
picture, wore pads to make her appear fat.
Cora Sue stole over to her mother and whis-
pered, "Do you think her name is really
Padden, or do they just call her that because
she has to wear all those pads? "

'TPHE conversation at a certain din-
ner party the other night drifted
around to Joan Crawford's frank
statement that Franchot Tone was
teaching her how to act for the stage.

"And did Lenore Ulric teach you
how to act?" a young woman across
the table asked Lenore's former hus-
band, Sidney Blackmer.

"Oh no," Sidney said with a smile,
"she just taught me how to behave."

" W/1*7^ in the world is a11 the fun about?"
^^ Visitors at the First National Studio

asked when they saw the very quiet Ricardo

Boris Karloff, director of the Screen Actors' Guild, greets its youngest
member— Sunny Waterman. Karloff can't make the baby actor laugh, or
even smile, so he thinks Sunny has a future as a dead-pan comedian

What do the grown-ups think?

wasn't professional jealousy. Ralph was feel-
ing faint, the effect of a close steam-heated
theater after that balmy California air. Ralph
began to grow panicky, fearful he would have
to walk out on his daughter's performance.

He gritted his teeth, dug his nails into the
plush chair cushion and swore, "I will not
faint. I will not leave." The stage was a
blur. Ralph went up the aisle on wobbly legs.

"Charming — lovely — very interesting," he
smiled weakly as his friends eagerly asked him
how he liked the play.

T ATEST thing in souvenir-collecting: A
woman rushed up to Jean Harlow at a recent
theater opening in Los Angeles and asked,
"May I have that cigarette when you're
through with it, please?" Rather disconcerting
for Jean to think of the exhibits neatly tagged
that it must be destined to join. But the
print of those perfect lips is worth the trouble,
collectors will tell you.

QECILIA PARKER, that pretty
little blonde who used to be out
at Universal, is now Andy Clyde's
leading lady, in Educational come-
dies. And being in comedies, she
has to keep in training. So the other
day she entered a Hollywood store
and asked the clerk for a pair of
shorts for her gymnasium.

"Yes, miss," answered the clerk,
"and what size is your gymnasium?"

T\ TALLY BEERY was much too busy on
W that eventful trip with the "Viva Villa"
company to get into trouble or know much
about those who did. Wally was busy buying
dolls and toys in the Mexican shops. His
little daughter, Carol Ann, is Wally's pride and

The Harold Lloyds apparently have no cinematic dreams for their children.
They carefully keep them away from movie cameras. But the photographer
caught Harold in the act of showing Harold, Jr., how to shoot marbles

Little Marianne and her mother,
Lucille Edwards, are filmdom's newest
screen team. They are playing to-
gether in "Orient Express." Thus,
Marianne's screen training begins
early — literally, at her mother's knee

joy and his every idle moment was spent in
hunting gifts for her.

Y\ 7HILE Gary Cooper was in New York,
^* he was invited by the Associated Motion
Picture Advertisers to one of their Thursday
luncheons.

Gary, nervous as an extra at a try-out, was
called upon to speak. He got up, struggled for
a start and just as he was about to emit his
first word, a waiter tripped with a huge tray of
dishes which caused a reverberating clatter
throughout the room. That completely fin-
ished Gary's equilibrium. But he was actor
enough to turn the accident into an alibi. He
made a low bow in the direction of the waiter
and said, "Gentlemen, I give the floor to my
good friend here." Then he sat down. And
the waiter isn't over the thrill of it yet.

"pIGURE it out any way you like — but the
Paramount Westerns and Mae West made
more money for that lot than any other pro-
ductions last year.

[ PLEASE TURN TO PAGE 96 ]

TheP

assm

<i,\.

Fat, or skinny,
they all wear pants
like Marlene's —
cluttered with dia-
monds, Mae okays
curves — Oakie swoons
when Peggy Joyce chisels
two orchids — DeMille cracks
his whip, and the leopards fall
dead — and it's hello and goodbye
with Constance and her Marquis

Dietrich, the Marlene, leads the show wearing the famous trousers,
coat and tie. A chorus of trousers-clad girls trot on from all direc-
tions. Some are fat and some are lean and nobody's pants fit.
But Marlene's. They go into a quick "Off to Buffalo" that rips
the seat in practically every pair of trousers and the audience
groans in memory of the pants-wearing episode.
The producers, wearing bright red hunting coats (for no reason),
go into their famous yearly shuffle with Sammy Katz trying to find
his place in the line-up. He never does. The boys join hands and
skip coyly around singing, "Who's afraid of the big, bad banker;
big, bad banker; big, bad banker?" Sammy Goldwyn accom-
panies them on the flute. Three notes off key.
The audience rises and screams as Mae West hip-slinks on. Mae
is the diamond-studded star of the year, bringing an epidemic of
"Come up and see me sometime!" that swept the country like
wildfire. People, who have never been invited anywhere, are
suddenly urged to "Come up sometime!" Anytime! An
entire world goes about insisting that people come up some-
time.

There's a sudden hush as the black-hooded figure of bad
luck, wearing Harpo Marx's red wig, still pursues the same
little blonde. The hoodoo is again after Mae Clarke who,
this time, flies through the windshield of Phil Holmes'
car, breaking her jaw J ''Bon voyage," cries the town
as Irving Thalberg and Norma Shearer sail for Europe.
The ship's whistle sounds, strong hands are at the
gang-plank, when suddenly a tiny figure in a
White Sister's" robe comes tearing across the
stage. "Wait! Wait for me!" she cries.
Helen Hayes makes a last minute leap from
the set to the boat and accompanies Norma
and Irving.
A sudden lurch. What's that? A tear-
ing, haunting sound. Actors scream.
The theater sways. Chandeliers
swing perilously above. The audi-
ence gasps in terror.
Earthquake!
The whole stage is a seething
mass of confusion. Actors,
wrapped in sheets and
clutching babies upside
down, go tearing
about in circles.
Gary Cooper

ONCE again the stage is set!
Another year rolls around and
Hollywood puts on its big Revue of
1933. New names flicker brightly on
the theater marquee. The red carpet is unrolled
and the plush seats are dusted.

Slowly the orchestra files into the pit. Behind the
curtain there's the usual flutter and hubbub. Electri-
cians, actors, directors and their assistants, producers
fly madly about.

An air of hushed excitement fills the place. Behind the
scenes the white blur of an actor's face, ill with the despair of a de-^
parted year, contrasts strangely with the clinking jewelry of a tri-
umphant Mae West.

Another year! 1933 with all its joys, sorrows, surprises, disappointments,
heartaches and great triumphs, is about to be enacted for the eager spectators.
The great white light of Publicity is once more turned on, the orchestra finishes
the overture, and Mr. and Mrs. Public sit tensely in their plush chairs —

And the magnificent, varicolored curtain very slowly rises on "Hollywood's Revue of 1933"

5how of 33

Hearty laughs, bitter tears — Holly-
wood shared both during 1933

By Sara Hamilton

ILLUSTRATED Ii\ FRANK DOB1AS

protrudes five feet from beneath a davenport upon which Kay

Francis sleeps peacefully on. Through it all.

Gradually the hubbub subsides when a bevy of newsboys
"Joan Crawford divorces Doug
"Doug and Joan part forever!''
and Doug takes to his papa. In

come screaming on.
Fairbanks!" they call.
Joan takes to her bed
Europe.

With a loud resounding bang, the doors of the banks close
The bank holiday is on. Valets, butlers, maids come to the
rescue of empty pocketed stars, handing out hundred dollar
bills. I. O. U.'s (none good) flood the town. Famous
stars who haven't shaved themselves in years give
"shave yourself parties and invite everyone up. To
the slaughter of the profiles.

Cracking whips and wearing Simon Legree mus-
taches, the producers leap on in a little salary cut
number. "You'll take a cut and like it, hah!
hah! hah!'' they snarl, while actors dressed as
Uncle Toms sit about the fields of the mi

Cotton Club and weep. The four Marx
Brothers, as bloodhounds, come baying
and leaping across chorus girls, un-
dressed as ice-cakes, while Eddie
Cantor, as a little Kosher Eva in a
blonde wig, goes up to heaven
To see Mae sometime.

Lionel Barrymore burps
through practically every
M-G-M production of the
year. 1933 will go down
in history as the year of
the Barrymore burps.

There's a sudden
spurt of night life

The White Sis-
ter races for the
gangplank — the
Ames - Cabot - Adri-
enne triangle is squared
— even Hollywood is
scared of an earthquake
- Baby Le Roy learns to
say, "Nuts" — and three little
pigs, instead of going to market,
take a trip all around the world

with the Colony Club opening full blast.
The Vendome restaurant, with two hams in
the window, one in a pink ribbon and one in
blue (Wheeler and Woolsey in disguise), opened
its doors. A rush of costume parties fill it almost
nightly.
Alice Brady and her four dogs walk in unexpectedly
and stay. All five a riot. Peggy Joyce wheedles two
orchids out of Jack Oakie and nearly passes out with the
effort required. Jack immediately puts on a clean collar and
a new suit. It stops the show. Even the orchestra falls pros-
trate at the sight.
A hushed silence. Heads are bowed in memory of a man who died
of a broken heart. Fatty Arbuckle has gone to join that happy-go-
lucky little trouper of the old Sennett days, Mabel Normand. Only Chaplin
remains of that famous trio.
The actors now clear the stage as the famous animal act of 1933 comes marching on.
Cecil B. De Mille leads the parade, yelling through a plum colored megaphone and lead-
ing four passionate leopards (to be used for love scenes only) [ please turn to page 116 ]

***|

Everybody's
Stooging

Now

lill

-jm

Sometimes they're yes-men; some-
times they're no-men. But many
a stooge is making many a star
toe the mark in Hollywood

By Kirtley Basket te

Jimmy Donnelly has been Al
Jolson's stooge for fifteeny ears.
His duties include giving Jol-
son advice and playing a card
game with him every evening

CHARLIE RUGGLES,
reaching for a tempting tray
of French pastries, found
his arm gently but firmly
arrested in its eager post-prandial
movement.

"No," reproved Lester.

"But I want that eclair, I tell
you. I — "

"No," repeated Lester with quiet
finality, "our diet strictly forbids
pastries. We must regain our
health." A brief struggle of wills;
two glaring eyes, and the tray waft-
ed away with its fluffy dainties un-
touched. Lester had said "No."

Lester is Charlie Ruggles'
stooge.

And though stooge may be a
horrid word, it's also getting to be
a household word in Hollywood. A
star without his own particular
stooge is like — well, pretzels minus
beer, or movies without sound. You
simply must have a stooge to rate
at all today.

What is a stooge ? You ask with
good reason, for certainly nowhere
else in this world will you run across
the word as you do in Hollywood.

If Hollywood possessed its own private dictionary, its
definition of the term would probably run something like this:

"Stooge: A person whose life revolves in the orbit of a screen

Jack Oakie gives his stooge, "Cracker" Henderson, the hot foot

star. A shadow, an echo. A self-appointed critic, one-man
audience and praise agent. A sometimes yes-man, and at
other times no-man. Any person varying in big-shotness from

a studio errand boy to a five
figure salaried manager, who
has received a star's confidence
and trust, and the glories
therein."

Clear? No? Well, let's pro-
ceed anyway.

Ted Healy, glorifier of the
professional stooge, applied the
word to his many accomplices
who are "fall guys," "feeders"
and butts for his gags. In the-
atrical parlance, the term has
long denoted a "plant" or curs-
ory accomplice — the kind of
crazy looking gent who heckles
from the audience, or feigns a
fight for a laugh.

But Hollywood, just to be
original, has distorted the term
to include persons of various
and vicarious virtues. In fact,
almost any catalogued or mys-
terious person hanging around
a star becomes his or her
stooge to the rest of the town.

The Lester noted above for
his dietary restrictions, hasbeen
Charlie Ruggles' stooge for the
past ten years. It is very doubt-
ful if Charlie could tool along
without Lester, he's so used to
him. They were on the stage
together many years ago before
the Ruggles rocket flared, and
today — well, he is practically
Charlie's other self. Even
speaks of Charlie as "we."
When Paramount employees
hear a helpless, petulant
"Where's Lester?" they know
that Charlie is completely hors
de combat until his stooge can
be located.

Just as they know that noth-
ing is okay with Oakie unless
"Cracker" Henderson is stoog-
ing around. "Cracker," a sour
visaged, gangling Southerner,

Ted Healy's stooges are among the most famous professional ones.
Here is Ted with his three "feeders" as they appear in "Dancing Lady"

George Raft is one of the stoogiest
stars in Hollywood. On the left is
stooge Sammy Finn, ladies' wear mag-
nate, known in Hollywood as "The
Killer." At right is stooge Mack Gray

news-hawked on a Florida newspaper until
he impulsively decided to hit for Holly-
wood.

A job on the Paramount labor gang
led to work on the set with Jack Oakie,
and there his molasses-mouthed, heavy,
Georgia Cracker drawl earned him the sec-
tional sobriquet, in addition to capturing
Jack's attention.

The story of their meeting is classic.

Jack, always on the lookout for a gag,
danced up to the sad-looking swamp angel,
as the set crowd, sensing fun, gathered
round.

"Where you from, son?" he asked cockilv.

"Maine," replied "Cracker" in sepulchral
tones.

Oakie blinked — and bit.

"Maine? With that accent?"

[ PLEASE TURN TO PAGE 117 ]

"Sex rules Hollywood," says Doug Fairbanks, Jr. It ssems to rule this scene with Diana Napier in "Catherine the Great"

Why I Quit Hollywood

By Douglas Fairbanks, Jr.

In an interview with Kathlyn Hoyden

"F there were no
other reason — and
there are plenty of
"others — 'Morning
Glory' would be enough
by itself."

Douglas Fairbanks,
Jr., made this answer to my request for an explanation of his
having decided never again to appear in a Hollywood-made
picture.

"My part in 'Morning Glory,'" Fairbanks went on, "wasn't
even a fair leading man's. Like all the others in the cast I was
only a stooge for Katharine Hepburn. Menjou hated what he
had to do quite as much as I did. He knew what it was doing

54-

to him — how it was
damaging him with his
followers.

" It was only because
Katharine Hepburn is
the swellest person in
Hollywood that Men-
jou and I didn't walk off the set the first day. But she was so
marvelous in the fattest star role a girl ever sank her teeth into
that we simply couldn't let her down.

"It would be silly for me to suggest I didn't know what I
was doing when I accepted the role. The fact that Katharine
and I were co-starred didn't fool me. It had to be all Hepburn
from start to finish. The story [ please turn to page 100 ]

/^■LARA BOW smiles right past the movie camera,
^'and doesn't even give it a tumble! After she
finished "Hoopla," Clara settled down for a nice, long
rest. Now she can loaf on a movie set and watch other
players hard at work. That's a real vacation for a star

Select Your Pictures and You Won't

DANCING LADY—M-G-M

TOP-NOTCH entertainment that should please the ma-
jority of movie-goers. A musical production with the
usual backstage atmosphere — which differs only in that it
has an interesting story woven through it.

As Janie, a young dancer who makes her way (through
the kindnesses of Franchot Tone, wealthy playboy) from
burlesque to lead in a Broadway musical directed by Patch
Galleghcr, Joan Crawford gives an admirable performance.

Clark Gable, as the hard-boiled director, is well cast.
May Robson, Winnie Lightner, Sterling Holloway, Ted
Healy and his stooges all do fine work. Art Jarrett and Nel-
son Eddy lend effective vocal accompaniment.

The dance scenes are dazzling in extravagant splendor.
Fred Astaire and Joan are a perfect complement.

ALICE IN WONDERLAND— Paramount

TO lovers of Lewis Carroll's story of "Alice," this picture
will be a source of great amusement with each familiar
character coming into being. All the charm, all the whim-
sical nonsense has been caught by the camera. Children
will be delighted.

Gary Cooper, as the White Knight, Jack Oakie and Roscoe
Karns as Tweedledum and Tweedledee, May Robson, Louise
Fazenda, Edna May Oliver as the Queens, and a host of other
movie favorites flit in and out of Alice's dream.

In this fantasy of the most highly imaginative quality,
Charlotte Henry makes a believable and charming Alice.

Settings and costumes are perfect.

A technical achievement, skillfully directed by Norman
McLeod.

The

Shad

A Review of the New Pictures

COUNSELLOR-AT-LAW— Universal

A TRULY superb picture, from every angle — story, cast,
direction and production.

John Barrymore plays George Simon, a part really worthy
of the performance he gives it. He is magnificent as the
man who climbed from the Ghetto to the position of greatest
lawyer in New York, with luxuriously beautiful offices.

And things happen in those offices — fascinating, human,
dramatic things. Never a dull moment, up to and through
the time Simon is threatened with disbarment — and is on
the brink of suicide. From the gabby telephone operator,
done to a turn by Isabel Jewell, to the inner sanctum
where Barrymore holds forth, things go on.

Bebe Daniels is a real, efficient and understanding secre-
tary, secretly in love with her employer. Doris Kenyon is
the selfish society wife. These are not rubber-stamp por-
trayals or parts. They seem fresh and new. Onslow Stevens,
as Simon's partner; Melvyn Douglas, his wife's special
friend; Thelma Todd, a client, and Vincent Sherman, as the
Communist boy who does a forceful bit of lecturing, are all
excellent in their roles.

Down to the merest bit-player, each performance is a gem
of perfection. Every member should be mentioned — but
the cast is much too long. The direction is capably handled
by William Wyler.

If you want a thrilling, emotion-stirring evening, don't
miss this picture!

Have to Complain About the Bad Ones

The Best Pictures of the Month

COUNSELLOR-AT-LAW
DANCING LADY
BELOVED
CONVENTION CITY

ROMAN SCANDALS

ALICE IN WONDERLAND

GALLANT LADY

THE RIGHT TO ROMANCE

The Best Performances of the Month

John Barrymore in "Counsellor-at-Law"

Eddie Cantor in "Roman Scandals"

Joan Crawford in "Dancing Lady"

Clark Gable in "Dancing Lady"

John Boles in "Beloved"

Ann Harding in "Gallant Lady"

Clive Brook in "Gallant Lady"

Ann Harding in "The Right to Romance"

Genevieve Tobin in "Dark Hazard"

Paul Lukas in "By Candlelight"

Will Rogers in "Mr. Skitch"
Jimmy Cagney in "Lady Killer"

Casts of all photoplays reviewed will be found on page 124

ROMAN SCANDALS—
Samuel Goldwyn-United Artists

ANOTHER Eddie Cantor triumph. With a bevy of the
most beautiful girls ever assembled in a musical ex-
travaganza on stage or screen.

In producing "Roman Scandals," Samuel Goldwyn at-
tempted something "different" from the customary type of
musical, and succeeded.

Ruth Etting, of radio fame, sings only one song, "No
More Love," but it's the biggest number in the show and
she does her job grandly. Ruth takes the part of Olga, the
Emperor's discarded favorite.

Nothing has been spared to make this production striking
in every detail. You will see some of the most lavishly
dressed sets and undoubtedly the most undressed beauties
yet shown.

It is chuck full of Cantor laughs. Even though the tunes
are few, you will thoroughly enjoy each one.

A pleasant change is that the comedy depends entirely
on situations.

Better than "The Kid from Spain," it seems to be over in
a great hurry. That is because it holds you every minute to
the grand finish.

Gloria Stuart, in a long blonde wig, David Manners,
Yerree Teasdale, Edward Arnold, Alan Mowbray are excel-
lent. The dances are effectively staged by Busby Berkeley.

The big punch is saved for the end — a chariot race that
will put any audience on the edge of its seats!

BELOVED— Universal

A TENDER epic of a musician's life and soul.
Vienna-born John Boles flees revolution to America's
South, fights for the Confederacy and carries his Southern
love, Gloria Stuart, with him on a life of frustrated musical
ambition. Plagued by poverty, forced to debauch his art for
a living, and weathering the disappointment of a worthless
son, he lives to scorn his grandson's modern musical tri-
umphs, but reaps his belated reward at the success of his
life's work, the "American Symphony."

Victor Schertzinger's deft direction and beautiful musical
score vie with Boles' outstanding performance and Gloria's
loveliness, to make this film unforgettable.

Dorothy Peterson, Eddie Woods and Morgan Farley.
Sets and scenery are as lovely as the haunting music.

GALLANT LADY—

20th Century-United Artists

CLIVE BROOK'S excellent characterization of a social
outcast might have stolen the picture, had not Ann
Harding, as the gallant lady in distress, turned in a per-
formance that simply could not be over-shadowed.

The experiences of Ann, as the girl who faces disgrace
through the death of her aviator fiance, supply a convinc-
ing background for the excellent work of Otto Kruger
who adopts Ann's child (Dickie Moore) and thus becomes
an important link in the complicated chain of Ann's
existence.

Tullio Carminati lives up to all expectations, as a young
Italian with whom Ann falls in love while in France. Betty
Lawford handles a difficult role with finesse. Decidedly
worth seeing.

The National Guide to Motion Pictures

(REG. U. S. PAT. OFF.)

CONVENTION
CITY—

First National

THE RIGHT
TO

ROMANCE—
RKO-Radio

YOU wanted a laugh, did you? Try this. A very down-to-
earth convention in Atlantic City, with some of the boys
whooping it up; Joan Blondell as a gold-digger, and Guy Kibbee
having wife-trouble. Mary Astor does a grand traveling sales-
woman role. Dick Powell, Frank McHugh, Adolphe Menjou
and Patricia Ellis turn in splendid performances. It's so funny
you'll scream.

THE story of a woman plastic surgeon (Ann Harding) weary
of success and hungry for love. She experiments with
romance, and marriage, which fails, as you might well guess.
Robert Young is the husband. Doctor Nils Asther, as the
patient admirer, and Sari Maritza, as hubby's hey-hey play-
mate, are well-cast. Harding in top form. Sophisticated;
clever dialogue.

SITTING

PRETTY—

Paramount

DARK
HAZARD—
First National

THIS just-so musical about two song writers who hitch-hike
from New York to Hollywood (Jack Oakie and Jack Haley)
is redeemed by five popular song numbers, an elaborate fan-
dance chorus with novel mirror effects and a very good cast,
including Ginger Rogers, Thelma Todd, the Pickens Sisters,
Gregory Ratoff, Lew Cody, Art Jarrett and several others.
Fair entertainment.

THE story of a gambler who loved a dog too much and who
thereby lost a woman. Genevieve Tobin marries Edward
G. Robinson to "reform" him. She fails, but gives a grand
performance trying. A greyhound, Dark Hazard, gets into his
blood, to mingle with the "Dark Hazard," the racing fever.
Genevieve helps herself to hubby's winnings and returns to
an old suitor. Fine cast.

jimmy and
sally-
Fox

BY CANDLE-
LIGHT—
Universal

YOU will be entertained and amused by Jimmy Dunn and
Claire Trevor, as Jimmy, an egotistical publicity manager
whose ideas invariably go haywire, and Sally, his secretary who
loves him. Lya Lys sings "You're My Thrill." Claire is a
grand actress who makes her character lovable and human.
Many complications arise, but they're all ironed out in the end.
Harvey Stephens.

A SUAVE Viennese comedy of manners, In which Nils
Asther, a philandering prince, is a great success with the
ladies, and gives ideas to his incomparable butler, Paul Lukas.
Paul yearns for an affair with a "lady," and thinks he has found
one in Elissa Landi. He pretends to be a prince, then discovers
she is a ladies' maid, also masquerading. Done deftly and with
great charm.

Saves Yo ur Picture Time and Money

MR. SKITCH
—Fox

YOU MADE
ME LOVE
YOU—

Majestic
Pictures

THE Skitch family (Will Rogers, ZaSu Pitts) are dispos-
sessed. So they start out for California in the old family
rattler. Daughter Rochelle Hudson saves the day with a
wealthy suitor. Florence Desmond's impersonations of well-
known movie stars are nigh perfect, and are the high spots
of the picture. The whole family will enjoy the Rogers' humor.
A good supporting cast.

MERRY England lives up to its name by sending us one
of the most swift-paced, ridiculously funny musical
farces seen in months. It is "The Taming of the Shrew" idea
with Stanley Lupino marrying erratic Thelma Todd and trying
to reform her on the honeymoon. You'll like the catchy tunes
that punctuate the crazy, side-splitting situations. Worth any-
one's time.

MASTER
OF MEN-
Columbia

IF I WERE

FREE-

RKO-Radio

JACK HOLT'S too-rapid rise from mill hand to a big power
in Wall Street goes to his head. Whereupon, wife Fay Wray
brings about his financial ruin. And he returns once more to a
humble beginning and happiness. Nothing new about the plot
or the dialogue. Walter Connolly as Parker, a clever financier,
does good work. Theodore Yon Eltz and Berton Churchill
complete the cast.

A SERIOUS drama of two people (Irene Dunne and Clive
Brook) who find themselves embroiled in unhappy mar-
riages, and turn to each other, hoping to find happiness. While
the theme is not new, the acting is splendid, the lines clever.
There are excellent moments with Nils Asther, the villainous
husband, and Laura Hope Crews, Brook's mother. Not for
children.

BOMBAY

MAIL—

Universal

J* ^

^f «» %

.^5jk

LADY

KILLER

Warners

A BAFFLING murder mystery aboard the Bombay Mail
train, with Shirley Grey, Onslow Stevens, Ralph Forbes,
Hedda Hopper and others under suspicion. Inspector Dyke
(Edmund Lowe) outsmarts the culprit and, after many puzzling
experiences, gets his man. A strong cast including John David-
son, Tom Moore, Ferdinand Gottschalk and John Wray. If
you like mysteries, here's your meat.

IF you're a Cagney follower, you'll probably like this film, in
which James, trying a new technique, drags Mae Clarke
across the room by her hair. The story is unconvincing, but
there's lots of action and fast comedy. It's Cagney's film, but
Mae, Margaret Lindsay, as a famous movie star, and Leslie
Fenton do good work.

[ ADDITIONAL REVIEWS ON PAGE 106 ]

Mae West with Lyons Wickland in her stage success, "Sex." When Mae went
to jail for this play, it was for the cast, not herself, that she was worried

I'VE got something on the motion picture public! You have
taken Mae West into your circle of favorite stars only in the
last two years while I've been a Mae West admirer — well,
for more years than perhaps the "Queen of Sex" would like
to have me tell — and for more years than it may be wise for me
to admit. But if you promise not to go mathematical and
begin guessing ages — the date was 1912.

I was 'steen years old and after school would drop into the

Back

of the

West

Front

Anecdotes of the
great Mae of bygone
days prove she has
always been herself

By Dana Rush

Family Theater of Pittsburgh, a vaude-
ville house which admitted me without
charge because its manager, Clarence
W. Morgenstern and his wife, were next
door neighbors, but to those less fortu-
nate, charged the huge sum of twenty-
five cents. No, not a big time house, but
a very much small time house which
demanded five performances a day
from its actors.

In those days May (that's the way
she spelled her name at that time) was
one of the best ragtime singers that ever
hit the Family Theater. And even
though I was only 'steen years old, I
knew she possessed "that something."
The present hysteria for Mae West (for
that's what the phenomenal popularity
of the new film star amounts to) has
been attributed to many things: SEX,
spelled with capital letters; curves, with
much emphasis on the roundness there-
of; the revival of the gay nineties period.
All have been set forth as an explanation
for the big way in which the public has
taken to the box-office which advertises
the "Queen of Sex." But I suspect the
cause is a more profound one. I would
call it histrionic ability — not only before the Klieg lights, but
behind the fountain pen or portable typewriter, whichever
medium is used to turn out her dramas. For Mae West not
only can act. She can write! Her talent in each amounts to a
God-given genius, for neither has been developed along the
usual lines.

The author of "Sex," "Diamond Lil," and the latter's movie
version, "She Done Him Wrong," [ please turn to page 109 ]

Seen About Hollywood —

PINS— such say
ones as that
worn by Kath-
arine Hepburn
in the form of a
galloping
rhinestone
horse. Kate's
hat and coat
are made of
waterproof
cordu roy
velvet

TEATHERS
I — like this
jaunty one
which was
seen waving
from Norma
Shearer's little
velvet hat at a re-
cent evening par-
ty. Norma's cos-
tume was a smart
affair of metal cloth

HIBBON-clever-
I>ly used for a
necklace - brace-
let set chosen by
Una Merkel. You
wear them like col-
ar and cuffs and
the ribbon, so trick-
ily woven, isedged
with silver balls

Clarence Sinclair Bull

TWIN pearl
• bracelets— anoth-
er stunning jewelry
note sponsored by
UnaMerkel. These,
too, look like cuffs
and are composed
entirely of pearls
strung on wire to
give them that flare

MATCHING
bracelet and
ring — this is a smart
combination which
Florine McKinney
is wearing about
town. The wide
bracelet and big
plaque ring are
both in jade green

TLORINE-also
l wearingone huge
bracelet of silver.
These bracelets are
increasingly popu-
lar with the stars
and are often worn
one on each arm or
several of them to-
gether on one arm

CTOCKING protectors
O — these are a boon to
sheer silk. Saves wear
and tear. These footlets
come in suntan shade and
are completely conceal-

Will Walling, Jr.

SMART Hollywood is looking forward to a new season — and so are the costumes
worn in pictures to be released soon. Travis Banton has designed a lovely dress for
Evelyn Venable to wear in "Death Takes a Holiday." It is perfect for resort wear
now and for first spring parties later on. Of mousseline de soie with tiers of ruffles
edged with lace forming the sleeves and skirt. That front panel is tucked to the hem

Forecasting the

New Season from

Screen Fashions

JOT printed sheer fabrics down in your spring
notes — and this dress in particular which Marian
Marsh wears in "I Like It That Way." Vera has de-
signed it in organza printed in a floral pattern of
orange, green and yellow on a cream background.
The short sleeves are covered with a ruffle and the
neckline is edged with a smaller one as a collar

Roman Freulich

COTTONS will be at a peak this spring, especially
in mesh or lacy weaves. Anticipating this, Travis
Banton has designed this smart dress for Miriam
Hopkins to wear in "All of Me." Gray mesh shot
with a metal thread is fashioned into a slim daytime
dress with long sleeves and high collar. Suede
trimmed-with silver bars makes the tie and trick belt

Eugene Robrrt Richee

GALLANT LADY" brings a very chic Ann
Harding to the screen. Gwen Wakeling has
done a grand job in designing the clothes. The en-
semble above, is one of the many costumes Ann
wears. It is in redingote style with a simple black
wool coat worn over a striped silk dress. The coat
is held by a wide crushed leather belt in black

NEED a suit to wear under your coat now and
later without one? Here is the perfect one as
worn by Claire Trevor in "Woman and the Law.
Trim lines as Royer does them so well — in blue
woolen, widely double-breasted effect and a candy
striped satin scarf in red and white which ties at the
throat then pulls through slots of jacket opening

* I

Two Ensembles and
A Suit for Spring

HOLLYWOOD FASHIONS

here sponsored by PHOTOPLAY Magazine and worn by famous
stars in latest motion pictures, now may be secured for your own
wardrobe from leading department and ready-to-wear stores in
many localities. . . . Faithful copies of these smartly styled and
moderately-priced garments, of which those shown in this issue
of PHOTOPLAY are typical, are on display this month in the stores
of representative merchants.

AND here is a smart en-
semble also worn by
Ann Harding in Gallant
Lady" — this, too, was de-
signed by Gwen Wakeling.
It is trimmed with grosgrain
ribbon arranged in rows
and cartridge pleated. The
coat is seven-eighths length
ending at a wide band of
the ribbon which circles
the skirt of the dress about
four inches above the hem.
This is a loose coat with
small standing collar and
wide bands of the ribbon
on the sleeves. The dress
has a yoke formed by al-
ternating rows of the rib-
bon, as shown in the sketch

Checks Make

New Pattern

n Fashions

This Spring

I F it's checked this
' spring, your cos-
tume will be smart,
for such a sound au-
thority as Travis Ban-
ton is using checked
costumes in two new
films. Gail Patrick in
"Death Takesa Holi-
day'' wears the
checked silk en-
semble above. Cape
buttons onto the
bodice of the simple
dress. Blue and
white is the color

Eugene Robert Richee

PvOROTHEA WIECK is
L^a new fashion person-
ality on the screen. In
"Miss Fane's Baby Is
Stolen " she wears a check-
ed black and white swag-
ger topcoat that will be
ideal for your spring ward-
robe. The wide collar is
matched with revers and
the fullness of the sleeves
are gathered into straps
which fasten just above
the wrists. An inverted
pleat gives back fullness

HISTORY tells us that Catherine the Great shocked Russia by
wearing men's attire. But this picture of Marlene Dietrich as
Queen Catherine is very feminine. She looks lovely in ruffles.
If the real Catherine wore a gown like this, we'll bet the toughest
subject forgave the queen her occasional penchant for trousers

Ru-m-11 Ball

JACKIE COOPER looks as if he wanted to go out to play — and the
director wouldn't let him. But Jackie had fun making his latest
picture. After playing more or less ordinary boy parts for a time,
Jackie was cast in a Western — on a big ranch with real cowboys,
and a buckin broncho for himself! The film was Lone Cowboy

<?<?

Two

Toughs

from the

Chorus

Jimmy and Allen
hot- footed it in
'Pitter Patter."
That's where Jimmy
met the "missus"

By Ben Maddox

IN all the world there is nothing so quaint as a
movie actor's past. But, until now, one James
Cagney and one Allen Jenkins, who are hard-boiled
— see? — hombres on the screen, have made no refer-
ence to a certain chapter in their pre-fame days.

To the very first chapter, to be explicit.

They began — together — as chorus boys!

You know how Jimmy and Allen wade through
talkie plots. They approach their victims with the
gala attitude of the two carefree members of the Three
Little Pigs trio.

Can't you just imagine Jimmy rubbing his hands
with glee and singing under his breath, "We'll put him
on the spot! " And Allen chortling, "We'll pull him bv
the tail!"

Yet, these two ten-minute eggs, who ad
vise many a quaking fillum opponent
where to head and aren't afraid of any
big, bad man, got their theatrical
impetus in — of all places — the
chorus!

The name of the show was
"Pitter Patter," and try to
fancy them in a spot like that!

Today, pals of a dozen years'
standing, and often profes-
sional partners, Cagney is a
front-row Hollywood star,
with a Beverly Hills mansion
which is complete from swim-
ming pool to play-room. Jen-
kins is a popular featured actor,
a dignified resident of exclusive
Brentwood Heights. Little did
either of them suspect they'd ever
be sitting so prettily when they first
met back in 1921.

"The show was playing Boston," Jimmy

Pals of a dozen years standing,
the only argument Cagney and
Allen ever had was over a clean
shirt. Each of them swears that
the other is entirely unspoiled
by Hollywood and film success

recalls with that Irish twinkle in

his eyes. "There were eight fellows

in our routine and one boy had to

drop out because his father died

suddenly.

"Allen had finished in another musical

in Boston — I think he walked out on it!

He came to [ please turn to page 110 ]

Working
Girl

"Work, to me, has always been a terribly serious matter, not to be trifled with"

FUNNY, isn't it? That you've never heard much about
Myrna Loy. That you don't hear much to this day.
That you probably never will, even if she becomes a star
of the first magnitude, which is not at all impossible.
For she is about to start her starring career for M-G-M, in
"Stamboul Quest."

Check back over the past eight years, the eight years during
which Myrna Loy has been a definite screen personality.
Remember any time when her name or her fame rocketed
skyward, suddenly? Anytime when the word "sensational"
could have possibly branded either her professional or her
private life? Yet, undoubtedly, she is a great favorite with
millions of theater-goers. Undoubtedly
she holds a very secure place in the -^ j^-
front rank of screen actresses. Jjy JS-BTITI

Exotic Myrna
Loy keeps a
sane head on
those pretty
shoulders

Undoubtedly she is a person
unique in the annals of Holly-
wood history.

Myrna Loy is Hollywood's
working girl.

Since she set out at seven-
teen to earn her own living in
a town where it is at the same
time the easiest and the hardest
thing to do, she has faced and
solved the same problems which
are faced and solved by a
thousand other working girls
throughout the country every
year.

NOT that Myrna is a dull
person obsessed with the
idea of success via the plugging,
plodding route. On the con-
trary, she is a very lively lady
to whom life holds out many
diverting and amusing prom-
ises. Let us instead call her
"canny" by nature. Let us
merely brand her a good
business girl, who has gone
about her Hollywood career
from a business standpoint — a
standpoint, by the way, which
would ordinarily be termed
madness, in a town where
most rules are reversed.

CERTAINLY Myrna her-
self would be the last per-
son in the world to point to her
procedure as a pattern for suc-
cess in the most baffling
"game" in the world. Yet a glance back into her career might
very well disclose a few hints which a girl of similar makeup
might very well grasp to guide her in a Hollywood campaign.
"I have always looked ahead — "

Inadvertently Myrna Loy sounded the keynote of her career
when she said this.

"I am naturally serious," she further admitted. "I like
fun, but I don't mix it with work. Work, to me, has always
been a terribly serious matter, not to be trifled with."

When she studied dancing as a girl, she studied it seriously,

because she realized it must contribute something to her

future. She learned it so well, that she started teaching, at

one time presiding over a class of thirty

6 1 h JJG K€ T [ PLEASE TURN TO PAGE 96 ]

Elmer Fryer

A L JOLSON is giving the cameraman a pretty mean
-* *-look — interrupting him right in the middle of a
masterpiece! Al said that "Wonder Bar" would be his
last movie, positively. But after seeing the rushes, he
changed his mind. Signed to make three more pictures

WHO'S in the DOG

Lee Tracy is in a "pooch
hut," and Harlow just got
out of one. Jean wanted
money ; Tracy was naughty

YOU never saw such a dog
house.
It has hot and cold running
swimming pools, plain and
fancy bars with the latest thing in
gadgets, the service is superb, the
capacity unlimited.

Also, it covers a lot of territory.
One week, the dog house may be a
palatial estate in Beverly Hills. The
next it moves into a luxurious apart-
ment in the heart of Hollywood.

In fact, the expression is purely fig-
urative. The dog house is wherever
the in-bad actor happens to park with
his pet peeve.

The head pup in the dog house at
the moment is Lee Tracy.

It seems that Mexico was inimical
to the idea of an American picture
company making a movie called

Twice Mr. Beery served time in a
canine kennel. But he came back

"Viva Villa," with Villa's army

dressed in rags. That started low,
ominous rumblings of disapproval.
Then, so the story has it, the whole
company regarded the location trip
as one grand lark, with that feeling
of being in a "foreign country" stim-
ulating them, and did some cutting-
up.

The climax was Tracy's balcony
episode, during which he gave a per-
formance that had Shakespeare's
Juliet backed off the boards.

Lee, having reduced the alcoholic
content of the country a trifle more
than two and a half per cent, was
feeling high. And what more logical
place for a lad feeling high, thought
Lee, than a balcony? Swathing his
manly form in a handy blanket, he
strode out and entered into a con-
versation with the Mexican army
cadets, who happened to be marching
by. The army objected, and Lee
landed in the local bastille.

As it turns out now, the country
below the border regards it as a

HOUSE NOW?

By Ruth
Ran kin

Rent comes high. But
some of our finest
stars are numbered
among the tenants !

minor escapade, merely a climax to other real or im-
agined indignities suffered at the hands of the invading
Americans.

At any rate, Lee is in the dog house, with his con-
tract cancelled, and his fevered brow cooled by the
soothing hand of a grand girl named Isabel Jewell, in
whose eyes Lee can do no wrong. Isabel is in the
equivocal position of having just signed a contract
with the same company that tore up Lee's.

The entire personnel of "Viva Villa" has been re-
cast, with the exception of Wallace Beery — and even
the director, Howard Hawks, is no longer with the
studio.

So Lee has a lot of company in his particular dog
house.

The dog house has a ladies' entrance, too.

Jean Harlow has recently occupied one of the love-
liest in Brentwood — a Colonial
model. Jean decided to strike for
more salary, and according to
the very latest reports, she got
what she wanted. For several
days she refused to show up in
the wardrobe fitting-room to try
on clothes to be worn in "Living
in a Big Way." The result of the
fuss is that Jean is now drawing
double the salary she had been
getting.

Clara Bow kept the hinges hot
for several years. Poor little Clara
was the "fall-guy" in more than
one escapade! The old headlines
got her. And once a name looks

Alice White's boy-friend trouble landed her in the
dog house. How long will Alice have to stay there?

Sylvia Sidney went in
through the ladies' entrance
when she walked off the
lot. But she's out now

well on the front page of a news-
paper, it's hard to rub it out.
Clara moved from one commodi-
ous dog house to another, with the
echoes following after.

They are fading away on the
breezes that sigh around the
Rancho Clarita, over in Nevada.
Clara's dog cottage has turned
into a large, substantial ranch-
house where she makes pancakes
for Rex Bell's breakfast — which is
one of the best sure-fire formulas
yet devised for keeping out of
headlines. Very few good pan-
cake makers, who tend to their
knitting, find time to get scandal-
ously involved.

When Clara moved out, the
vacancy was promptly filled by
Alice White.

Alice broke her leash lately with a loud resounding bang, the
detonations reverberating throughout the countryside. And
with them, little Alice moved right into the dog house.

Alice had boy-friend trouble. She phfft with Cy Bartlett.
her "steady" for several years, and John Warburton was elected.
The story goes that John behaved as no gentleman should —
unless it's in the script — and smacked Alice in the best Jimmy
Cagney tradition.

This wound up in a debacle of accusations, retractions — and
additions. The two hold-up men who said they were hired by
Cy to get even with John, turned out to be wrong. Cy was re-
added as Alice's heart-attack. John was subtracted.

Over at Paramount, Jack Oakie is always on his way in — or
out — of the dog house. He gets in because of a consistent failure
to show up for work on schedule — [ PLEASE TURN TO page 122 ]

Oakie is always "back-
ing up" — right into the
kennel, so far as his fel-
low actors are concerned

And Here

The intimate story of
four personalities made
famous through a novel

By Virginia Maxwell

OUT on the main road in the village
of Concord, Massachusetts, there
lives the last surviving member of
the famous Alcott family generation;
a woman who knew Louisa Alcott as "Aunt
Louisa," who sewed and baked and pre-
served jellies with "Meg" and who helped
"Amy" to curl her hair and frame those
precious sketches she was always penciling.
This woman is Mrs. Frederick Alcott
Pratt, widow of one of the twins in "Little
Women." She lives in the proud old man-
sion once occupied by the Alcott family.
And although she is now seventy-four years
old, her recollections of those other bygone
days of the late "sixties," when the Alcott
girls were her closest relatives, have not
dimmed through the years.

The ghosts of a thousand family mem-
ories hovered over the little old-fashioned
parlor where we sat. The same faded blue
chintz draperies at the Colonial windows;
brass oil lamps above the crumbling brick
fireplace. On the same old mahogany settee
with its deep plush cushions, where the little
women once gathered to discuss those ever-
vexing family problems, Mrs. Pratt sat
back. She was going to relate some of
her precious memories of the real
"Jo" and "Meg" and "Beth" and
"Amy," as she knew them.

These girls were Louisa Al-
cott's own sisters. But their
real names were Anna
(Meg), Elizabeth (Beth),
and May (Amy). Louisa
herself was Jo.

"Anna was the eldest
of the four girls, but it
was to Louisa they always
looked for encourage-
ment," said Mrs. Pratt.
"Louisa was never a
hoyden; she typified the
modern, spirited girl of
this generation, except
that she was in an old-
fashioned setting. Vitally
alive to the independence
women were about to
achieve; fearless, cour-
ageous, the one member
of the family who always
saw better times ahead
and eventually pulled
them out of their strug-
gle with poverty."

"And did Louisa really
yell 'Christopher Colum-
bus' as Katharine Hepburn did in the picture
nodded and smiled.

"Yes, Louisa was always emphatic about
as likely to say that as anything else. But
how to bring home her point to her sisters.

See the

Louisa M,
made her

Alcott, the Jo of "Little Women," who
family immortal with her famous story

I asked. She

things. She was
she always knew
Thev adored her

Orchard House, of "Little Women"
fame, as it looks today. Here the
real Amy, Jo, Beth and Meg lived,
and the famous book was written

for it and looked up to her judg-
ment in almost everything they
did.

"All those Alcott girls had a
spirit of independence, you know.
But there was a simplicity and a
healthy flavor to their independ-
ent spirits. No high-speed cars,
none of the extreme luxury
which girls today find so neces-
sary. They loved books and
music and outdoor life and the
simple duties of their home."

Mrs. Pratt's blue eyes wan-
dered to the New England win-
ter landscape just outside the
old windows as she stopped
speaking for a moment to hark
back to a picture memory of
long ago.
"Why, I recall Louisa sitting in the crook of that lovely old
tree just outside their Orchard house, reading a book, many
a summer afternoon. She considered that having a fine time.
And indeed it was.

"I recall, too, little May scribbling pictures on the back of

Real "Little Women"

an old wooden egg-box. She
loved to draw. Some of her best
work was done on the doors of
that house.

"They lived in this old house
and these are the pieces of furni-
ture they used. They were
handed down to me as each of
the girls passed on."

\Ye walked through the old-
fashioned kitchen where "Meg"
used to bake spiced cookies and
one could almost feel the presence
of these quiet-mannered Alcott girls
going about their homey duties. An
old iron coal range where the Alcott
family dinners were baked and stained
glass panels in the high, old oak dish
closets.

In the antiquated dining-room beyond,
a curly maple table and chairs could be
glimpsed — the same table, Mrs. Pratt explained,
on which that Christmas morning breakfast of "Lit-
tle Women" was once set out, the breakfast the girls so
willingly shared with their impoverished neighbor.

The simple charm of this old-fashioned atmosphere made
one regret that the era had passed. Mrs. Pratt doesn't believe,
however, girls will ever go back to that sort of simple living.

"I don't believe they can," she commented. "Poor dears
are caught in the whirlwind spirit of this generation. It's as
inevitable as the march of progress. Maybe it's best they
can't go back," she added, with a little twinkle in her eyes;

"there were disadvantages for a girl to cope
with in our generation, too. The stigma of
being a spinster, for example. I believe they
call them 'bachelor girls' today.

" In my girlhood, it was considered a great
humiliation never to have been honored by a
man's proposal of marriage. A spinster
became an object of pity among her friends.
They tried to make up to her, in little kind-
nesses*, the great loss of marriage.

"Louisa never married, you recall. But it
wasn't because she didn't have a proposal.

"She almost married a nice Polish young
man she met while abroad. He was really
the 'Laurie' of her story. But Louisa lived
with only one purpose in mind — to pull her
family out of the poverty they knew during
their childhood.

WHEN 'Little Women' was published
in 1868, it brought them the first bit
of real money they were able to enjoy in
many years, and it proved the turning point
in their fortunes."

What Mrs. Pratt then revealed about this
famous book of American family life should
be balm to the hopes of struggling writers
today. She told me, quite frankly, that the
publishers didn't care for the story when
Louisa first brought it to them.

They pronounced the first twelve chapters
dull and Louisa struggled re-writing it during
the entire summer of 1868 after which she
took it to them again under the new title of
"Little Women." Formerly she had titled it
"The Pathetic Family."

Roberts Brothers accepted it then. And
Louisa always believed it was the psycho-
logical effect of the new title rather than
the re-written material that influ-
enced the publishers. That title,
" The Pathetic Family," brought
up the subject of the Alcotts'
poverty. Mrs. Pratt ex-
plained it thus: "It was
genteel poverty, the sort
of thing their mother al-
ways said was responsible
for developing their fine
characters. [please

TURN TO PAGE 100]

May Alcott (Amy) pre-
ferred art to home duties,
and played the grand lady

Ilurrell

PICTURE by picture, Madge Evans grows up. Now
she's changed her ingenue curls for a simple hair
arrangement that's very sophisticated. After "Fugitive
Lovers," Madge is going to get her first big chance with
higher dramatics, as the lead in "Forgotten Girl"

The Lady

Who

lushed

Hollywood

Cynical, too, about
romance is this
new cinema blaze

By Wilbur Morse, Jr.

THIS is the story of a
little Southern rebel
who let romance side-
track, her from success
and then, when her dreams
burst like soap bubbles, be-
came a cynic at twenty-two,
a screen sensation at the same

age.

The lady who had lost love,
they all her now in the little
group who knew her best in
those very recent yesterdays
when she climbed into the
fickle lap of fame on Broad-
way.

And it is from this group's
album of memories that the
following snapshots of Mar-
garet Sullavan, Hollywood's
newest heiress to hurrahs,
were gathered.

Turn the page, Priscilla,
let's look at the pictures — ■
pictures that really never were
taken, but which we can,
nevertheless, visualize.

Cute, those baby pictures,
aren't they? But all baby
pictures are cunning and Cor-
nelius Hancock Sullavan and
his wife, the former Garland

Council!, knew that many other infants in Norfolk, V
had just as winning ways as their daughter.

There's one taken the day America entered the war.
children at the Walter Taylor Grammar School were giv
flags that day. Peggy brought hers home and Uncle

lrginia,

All the
en tiny
Charlie

thought it would be sweet to photograph her
waving it.

And now, to continue our imaginary album,
that's the graduating class at the Chatham
Episcopal Institute. The girl in the center,
the one with brown curls and gray eyes, is
Peggy.

She was still at Sullins College in Bristol,
Virginia, when the next one was taken. That
was the year she won her argument with her
father and mother and persuaded them to let
her enroll at the Copley Theatrical School up
in Boston.

E. E. Clive, the actor-manager who is now
running the Hollywood Playhouse, was direct-
ing there. Here is what he said about her:

"She had an instinctive grace, a voice that
promised depths yet to be explored, and an
earnestness rather surprising to find in a little
Southern girl whom the Harvard boys were
only too eager to make a belle of their balls."
As a matter of fact, it was one of her Harvard admirers who
gave Peggy Sullavan her first opportunity on the stage.

Charles Leatherbee, scion of the wealthy Crane family, was
then gathering a group of college boys and girls to take to Fal-
mouth, a Cape Cod resort, where [ please turn" to page 104 ]

I HAPPENED to be a fellow-passenger on
board the Colombian liner, '"Haiti," with the
plucky little band when it set out on location
in the black republic of Haiti. They were the
life of our ship's party, playing games, dancing and
laughing all the way down to the Spanish Main.

Sooner or later, every passenger going to Haiti
and Jamaica begins to talk about voodoo. "Rub-
bish and nonsense!'' we all agreed.

"Oh, is it?" asked a middle-aged man who had
been a Colonial officer in the British West Indies.
Most of the time he sat drinking in a dark corner
of the bar. Alone, no doubt because of the hideous
scar where one side of his face had been slashed.
" I could tell you a bit about what you call voodoo,
if I chose." But he did not choose.

And the movie people went right along, light-

Drums

in the

Jungle

A strange story — all
truth — of picture-mak-
ing and voodooism in
the West Indian Islands

By Henry A. Phillips

heartedly informing us how they intended, in a few
brief weeks, to penetrate the dread secrets of voodoo
and to strip black magic bare of its superstitions in
this picture they were going to make, "Drums of
the Night."

That was before things began to "happen" —
weird, fearful things unbelievable in a white man's
world of substantial architecture and hard facts.
That was before they were scarred by weeks of
wallowing in West Indian jungles through unending
nights, stung and maddened by monster insects,
haunted by strange cries, ever surrounded by hun-
dreds of black faces and roll-
ing eyes, their souls harassed
by mystic phenomena of the
ghosts and black magic they
had come to explode.

We had a happy landing at
Port au Prince and all rode in
a party to the cozy little
Hotel Sans Souci up the
hill. We threaded our way
through a continuous pro-
cession of black people pad-
ding along barefoot, jabber-
ing in French, carrying broad
baskets of exotic fruits on
their heads. Three million
pure African black popula-
tion with a bare handful of
whites among them ; a friendly
people until crossed in their
superstitions!

"I think you're going to
have trouble," Ralph Barnes,
the proprietor of the Sans
Souci, told them that night
as they sat talking over their
planters' punch.

They laughed and went off
to bed. Next morning, the
preliminaries of "Drums of
the Night" began with a
search for types and dancers.

Nightfall found George Terwiliger, the director,
and Carl Burger, the cameraman, far back in
the hills with a native guide, in search of a
voodoo dance. The dark was not far advanced
before they heard the first drums. They left the
car and walked in the direction of the sound.

They were admitted into the circle of dancers,
but the moment it was learned that they wanted
to hire the drummers, the dancers and maybe
the papaloi (a witch doctor) for money, a sin-
ister note crept in. It seemed advisable to leave.
On the seat of the car they found a curious chap-
let of crossed twigs. It was an oitanga. Already
they were under a "curse." The tire had been
punctured with a poisonous thorn, and down
the road they found a royal palm tree felled
across their path.

UNDAUNTED, they spent the following
three days trying to engage native drummers
and supers in the town, and managed finally to
gather a rag-tag company together. The sev-
eral truck-loads of equipment were made ready
to set out on location in the morning. At break-
fast next day they were served with a notice to
pack up and get out of the country on the first
out-going steamer!

Within twenty-four hours it was quite evi-
dent that they were taboo in Haiti — "untouch-
ables." There were a score of little "accidents"
that happened to members of the company, that
no one could account for or actually put his
finger on. That night Terwiliger rushed agi-
tatedly up to Barnes. "We're getting out to-
morrow on the 'Colombia,' thank God! I'm
taking the Haitian drummers and the dancers
with us — I've got to have them."

But morning found the drummers in the
Government jail. The dancers had vanished
completely! The company left Haiti at noon for
Kingston, no farther advanced than when they
had arrived a week before. And a strange fore-
boding replaced the high spirits of their happy
landing.

Now Haiti is not that sort of a place at all for
ordinary, pleasure-seeking tourists such as you
and I. In fact, it is a little undiscovered para-
dise with all the charm of the tropics among a
friendly hospitable people.

%•

* ♦

»>

I v

In the movie, Fredi Wash-
ington, as a native sorceress,
exercises a power over the
natives, compelling them to
help her kill the white woman

I parted company with my
movie friends at Kingston.

A native drummer, under
a voodoo spell, pounds the
drum in the jungle
throughout the night

On the white hero's servants, the superstitious
natives place a curse, or ouanga, to frighten them
into sacrificing the white heroine to voodooism

BOUT a month later, I re-
turned to Kingston. I did
not get 'round to the Myrtlebank
where the company was stop-
ping until that night. The mov-
ing picture people had disap-
peared. From the manager and
others I picked up details of
their activities. They had tried
to work beneath the frizzling
tropical sun, and found the heat
too extreme. So they had con-
ceived the audacious idea of
working entirely at night. They
were now completing a picture
made, from beginning to end,
after dark. This was possible
because of the monster new-type
floodlights which they had
brought with them, and generat-
ing plants which they had man-
aged to transport into the heart of a jungle recently devastated
and flooded by hurricanes and cloudbursts — an American feat
too prodigious for the Jamaicans to understand. They gasped
over the whole undertaking, "and amidst such ominous condi-
tions!" they hinted with lowered voices that set me to wonder-
ing. The company set out for the jungle at eight o'clock each
evening and returned about seven in the morning. A special
car carrying hot coffee and sandwiches was dispatched to them
at midnight. I was in that food car when it set out, accom-
panied by two half-frightened black boys.

It was a reeking hot night and all the blacks of Kingston
seemed to be loitering along the open road. Out past Gallows
Point, still held in awe by the Negroes because there the last
buccaneers hung on the island walk-about with their gibbets
under their arms, a dark velvety calm hung ominously over the
Caribbean. The lights of distant Kingston trembled ghostily
in the sea's depths. On past Spanish Town, colonial houses

"M '

■■ i '■"■

«z9

.^y*. * ifet • ;

gji

-%aP*Pii§F*aB^H

f IT.

1 B i!3^ I

^ ™

IfcV^S

J«>

*. ■▼*

Ep/

-P***^ t

* 'FjflBil ':^ ^^

_• -^ ■■

1 1

Ja* ■

<&z0t ■

tions. A slice of blinding West
Indian daylight caught in the
meshes of a dense jungle. A bril-
liant patch of noonday brightness
set in the darkest fold of the black
robe of night! Subconsciously
I knew what it was, of course.
Before me was a huge generator
truck whirring and snorting like a
maddened beast caught in a jun-
gle trap. How they ever got it
there through the mire and wreck-
age of jungle trees, the Lord only
knows! I had reached the sharp
edge of the circle of light that
seemed to cut through actuality
like a knifeblade.

STANDING at the far end of
that cleared space of unearthly
light was a huge figure of painted
wood with fiery eyes, a writhing
snake coiled 'round its neck and
striking venomously. On either
side stood an ugly half -naked black
man, upholding a flaring torch.
Directly in front of it, a tall cada-
verous papaloi was bending to re-
ceive a blessing. The drums kept
dinning in my ears, but I felt that I
now understood a rhythm and rune
that flowed from the black heart
of the monster, through the ritual
of the witch doctor, and into the
souls of the dusky figures that en-
circled the space. Their gaze was
fixed, their eyes rolling. From
time to time they raised their
hands above their heads. Africa
had closed in on them and they

[ PLEASE TURN TO PAGE 98 ]

Above, the young sorceress is cornered in the voodoo tree,
and shortly thereafter, meets her end. Right, what a real
voodoo dancer does during the daytime. A charmer at
night, she is doing the family wash on the river's bank

gradually turned into huts, and in each hut a dusky group
hovered over a smoking oil torch, like dark witches gazing
into blazing cauldrons. Little by little the people and the
landscape merged into Africa. Gradually this alien night gave
color and terror to my inflamed imagination. The exotic trees
silhouetted in grim shadows; the pungent odors; the sounds of
the jungle — -night birds sobbing, owls hooting in a minor key,
human cries and wails, and singing in primitive, jazz-like
rhythms.

Then my ear caught it — the throb of drums, of tom-toms.
My two darkies had sensed it and a strange, yearning fear took
possession of them. They drove like mad to our mutual peril.
Suddenly, we turned off the road into a dense banana planta-
tion, and in another five minutes were sunk up to our hubs in
mud. Walking was the only alternative, along a pathway paved
with banana and palm leaves. In the darkness I kept slipping
off into the mud. Then I lost the boys and went astray in the
endless banana forest, beyond which was the jungle.

The terrifying sound of those drums was ever beating in my
ears, and my heart tried in vain not to keep time with their
maddening unearthly rhythm as I plunged along in the mud.

Then I caught sight of the most eerie spectacle I have ever
seen in my life. And I feared that my imagination had been
driven by those reverberating drums into a web of hallucina-

PHOTOPLAY'S

Hollywood Beauty Shop

Conducted
By Carolyn
Van W y c k

All the beauty
tricks of all the
stars brought to
you each month

THERE are three impor-
tant points to remember
in perfect powdering," says
June Vlasek. "Powder
to the hairline. Very
necessary with off-the-face
hats and coiffures that ex-
pose the forehead and ears"

DON'T neglect mouth
corners," warns June.
Press powder on right to
lipline. Generous powder-
ing enlarges and accents a
feature,- light powdering de-
tracts attention. Remember
when powdering your nose

FOR soft, youthful effect, powder
must be artfully applied about
eyes. Do this afteryour lash make-
up. Press on powder to soften
laughter lines, then dust with
brush or puff. Powder beneath
eyesdisguisesdarkshadows. June
Vlasek is using a new powder
beautifully boxed in shiny black
and peach with square puff

Our "Alice in Wonderland"

pAROLE LOMBARD
' — creates an exquisite,
cameo contour by re-
versing the accepted
mode of her comb. The
tortoise shell band is
placed at the nape of
her neck, just above her
ears, to hold curls close
to her neckline. Chic!

FOR evening, Judith
Allen prefers a coil of
brilliants, in the "Alice
in Wonderland" man-
ner. Very sweet and in-
genue. Notice how
charmingly the diadems
adorn both the suave,
smoothly coiffured head
as well as the informal

EVELYN VENABLE'S
«— tiara is very regal and very
decorative with its tiny
globes of brilliants. Evelyn
wears her long hair parted
and coiled low on her neck,
the bandeau lending just the
festive touch for evening

as Inspire

d Th

ese

Diad

ems

JUDITH ALLEN is using a

vnew waterless shampoo.
The solution is applied to the
scalp, combed through the
hair, allowed to dry and is
then brushed out. Leaves
your hair beautifully clean
and does not injureyour wave

I ONA ANDRE looks

I — very cunning and
schoolgirl ish with her
"Alice in Wonderland"
ribbon slipped under
her waves so that only
the top shows. The
young find this ribbon
arrangement lovely
f o r even i n g or day

A COMBofbrilliants
/\a nd onyx coils
crowns Dorothea
Wieck's dark locks with
royal charm. These
newest hairdecorations
are versatile adornments
because you may wear
them with almost any
type of coiffure orgown

Ideas

From the

Screens

You nger

Set

THIS is Betty Furness' favorite talcum, featuring a new
container and leak-proof top. Aside from genera
uses, a little on the palms makes gloves go on like magic

EVEN if she is very young,"
says Betty Furness, "every girl
should use an eye or tissue cream
over her lids and beneath her
eyes at night." Sun, exposure,
eye strain, tension, begin early to
etch fine lines, and the use of
cream is your only safeguard

ONA ANDRE is all agog over
I— her new fire engine red nail
lacquer and remover in a cunning
redorwhite leatherholder, which
later makes a perfect cigarette case.
Fire engine red is suggested for
warm toned skin and is smart with
many of the newest colors

( For Mote Beauty Tips Turn to Page 87 )

■ Mrs. Thomas M. Carnegie, Jr. desert
New York to spend her winters on
Cumberland Island off the coast of Georgia.
In the summer she is at Newport in her
lovely house. She loves animals and her
favorite fox terrier, Bozo, goes every-
where with her. She is a deft and delight-
ful hostess and her shrimp Newburgh,
southern style, is excelled only by her
Georgian wild turkey with wild rice.
She always smokes Camel cigarettes.

"I NEVER TIRE OF

THEIR FLAVOR"

"They always taste so good. They
are smooth and rich and certainly
prove that a cigi rette can be mild
without being flat or sweetish,"
says Mrs. Carnegie. "Camels
never make my nerves jumpy or
ragged, either. And they're so
popular that keeping enough in
the house over week-ends is a
problem."

That is because steady smokers
turn to Camels knowing that they
never get on the nerves. People
do appreciate this. You will like
the smooth flavor of the costlier
tobaccos in Camels. For a cool
and mild cigarette that you enjoy
no matter how many you smoke,
try Camels.

CAMELS ARE MADE FROM FINER, MORE

EXPENSIVE TOBACCOS THAN ANY

OTHER POPULAR BRAND

R. J. Reynolds

Tobacco Company

What must a young girl know

BEFORE MARRIAGE?

A Budapest bookseller, faced with hard times, advertised that
he had for sale a volume of information indispensable to a
young girl contemplating matrimony. He said that in this
book would be found — not what every young girl is told before
marriage — but what she will find it indispensable to know.

Thousands sent their mail-orders. Then — complaints
began to pour in. Finally an outraged man brought the book-
seller into court. He stated that he had sent for one of these
compendia of indispensable information . . . and that he had
received by mail a 19th Century Cook-book — "Lazy Little
Lulu Learns Cookery." He wanted the bookseller found guilty
of obtaining money under false pretenses. . . .

But the judge acquitted him, saying that he was in thor-
ough accord with the bookseller's view that a knowledge of
cooking was of primary importance to the prospective bride.

Your favorite magazine could be advertised truthfully in
very much the same way. The most indispensable knowledge
to a young wife is knowing where and what to buy . . . how to
get the most for her money . . . how — on a limited budget —
to keep her home fresh, new, attractive . . . how to dress her-
self and her children, inexpensively yet in the very latest styles
. . . how to serve on her table foods of dependable quality.

In other words — the advertising that appears in this maga-
zine contains information of real value . . . NEWS! Announce-
ments of the latest and best in the shopping world. This is
indispensable information to every woman, especially to
those with families. It helps them run their homes happily.
Surely that is what every woman must know.

BETTE DAVIS, soon to ap;
pear in " Fash ions of 1934,"
has found a new perfume that
suits her moods and that has
the fashion world agog at the
moment. Suit your moods,
too, when choosing perfume

AWHILE ago, a visitor to Hollywood
might have been struck by the fact that
the stars did not seem to use face rouge.
On my first visit, too, that was my impression.
"Well," I thought, "most of them have on
heavy screen make-up all day and it is prob-
ably a relief to have a natural face when not
working."

Now it seems that Hollywood is using much
more face rouge, or, at least, is appearing with a
glow of fresh color on its cheeks. And a good
thing, I think.

I remember that Loretta Young told me she
was glad when screen make-up developed to
the point where an actress might use rouge be-
fore the camera. Formerly, this might have
caused a shadow or hollow on the cheeks.
Loretta explained that this touch of color
encouraged and inspired her, kept her from
"feeling pale."

While "feeling pale" is nothing but a mood,
I think it is a dangerous one. It lets you down,
makes you feel about half of what you really
are. I do not think it should be encouraged to-
day. A touch of color to the cheeks seems to
eliminate this mood entirely.

But that touch is the all-important thin',;.
In all phases of make-up, there is hardly one
that requires more expert application than
cheek rouge. Except in very few cases, a little
is all that is needed. And this little should be
applied so that only a very gentle color seems
to arise from beneath the skin. Where you
place this color, depends entirely upon the
contour of your face. As a rule, rouge always
belongs fairly high on the face. Lona Andre
applies it beneath the eyes on the full part of

IIARMONIZING lipstick

land nail-lacquer is one of
the newest Hollywood
vogues, as sponsored by
Muriel Evans. These smart
touches give you chic and
add a glow of well-being

Make-Up

Tr e n d s

from

Hollywood

By Carolyn Van Wyck

the cheek, blending outward to the temples.
Charming on young, soft faces.

The long, thin face may be made to appear
fuller by applying rouge slightly away from the
nose, fairly high and blending outward in fan
shape toward the ears. The round face may be
slenderized by the application of rouge at the
center of the cheekbone and high, blending out-
ward also in fan shape. By keeping rouge
higher on the face, the impression of length is
created. The squarish face should apply rouge
a little closer to the nose and let it fade out-
ward on the cheeks, not carrying it to the
temples. The oval face, like the long, should
start at the middle of the cheek and blend the
rouge upward and outward. While these gen-
eral principles apply, I think everyone shoul l
experiment personally to decide just where the
rouge is most becoming.

If your eyes are darkly shadowed beneath, as
some naturally are, your rouge carried fairly
high and powder carried to the lashline will
soften these shadows and make them less
noticeable.

A paste or cream rouge is suggested for your
first application because this type gives a very
natural effect and is very lasting. Every girl,
however, needs a compact rouge to touch up
the effect now and then.

Hollywood's style of rouging the lips is to
make them pleasantly full — but not overdone.
Do you remember the comments that Joan
Crawford's lips caused in "Rain"? That was
character make-up, of course. However,
moderate fullness is infinitely preferable to the
very thin lip. To avoid the latter, concentrate
color at the center, rouging well to the edges.
If your lips are extremely full, rouge them
lightly. Terc Westmore, Hollywood studio
authority on make-up, advises us all to avoid
v. hat he calls the "depression" mouth — the
mouth that droops at the corners. You can
correct this by a slight upward flourish of your
stick at the outer corners of the upper lip. This
will give you a happy mouth.

Above, Muriel Evans illustrates the latest
lipstick-nail lacquer tip from Hollywood, and a
grand one if you want flattering comments.
Even a pale polish can match in tone.

NEWEST MAKE-UP AIDS" is our latest leaflet. It will introduce
you to some new lipsticks, rouges, powders and other accents,
and tell you how to apply them. Or if you are more concerned with
hair, nails, perfumes, or skin, we have special material. Enclose
separate stamped, self-addressed envelope for each leaflet to Carolyn
Van Wyck, Photoplay Magazine, 221 West 57th Street, NewyorkCity.

Photoplay Magazine for February, 1934

can help you win

~Wf —mam ~J^V • '-^Ktf ■ i ~TB

and hold them

Precious Elements
in this Soap —
Scientists Explain

"Skin grows old-looking through the
gradual loss of certain elements
Nature puts in skin to keep it youth-
ful," scientists say. "Gentle Lux Toilet
Soap, so readily soluble, actually
contains such precious elements —
checks their loss from the skin."

Photoplay Magazine for February, 1934

liearts

says

Barbara Stanwyck

^OVEty

tVAi^«^RoI

This fascinating screen star
tells you her secret of loveliness
. . . how to have a skin
that wins instant adoration.

You see her here as she looks in her own
boudoir in Hollywood. Notice how tempt-
ingly soft and smooth her skin is. Surely
you'll want to follow her advice — make
yours as lovely!

All over the country girls are turning to
the complexion care Barbara Stanwyck
uses — proving that it really does bring a
thrilling new beauty to the skin.

Actually 9 out of 10 screen stars use
this same wonderful aid to loveliness —
fragrant, white Lux Toilet Soap. Why
don't you try this famous Hollywood com-
plexion care? Get Lux Toilet Soap today
. . . use it regularly. Notice how soft and
smooth your skin looks . . . and feels . . .
even from the first.
Begin now to win new
loveliness.

Men can't resist alluring skin
—you can have this <pltarm

Ask Th

e / vnswer

Cora Sue Collins, chosen by Garbo to portray her as a child in "Queen Christina." Since she got
the part, Cora Sue has autographed over two hundred photographs of herself for admiring friends

ABY GARBO"— that's what they are
kcalling Cora Sue Collins. Since M-G-M
announced that Cora Sue was to play
Garbo as a child in "Queen Christina," this
old Dean of Wisdom has been swamped with
letters asking about the petite curly-head.

Cora Sue, just six years old, is as enthusiastic
about her career in pictures, and has as much
ambition as any of our reigning stars. She
says she wants to be a "champeen actress,"
and means it, too.

She was born in Beckley, W. Va., although
Clarksburg and Huntington both claim her.
She lived in both places during her babyhood.
At the age of three she won a contest for the
title of "Champion Baby of Clarksburg."
That's where her "champeen" idea originated.
When she was four her mother took her to
Hollywood to try to get her into pictures.
Their meager funds ran low and Mrs. Collins
had to sell hosiery from door to door. Then
one day she took Cora Sue to Universal City
where they were casting the ZaSu Pitts-Slim
Summerville picture "The Unexpected Father."
There were lots of little children there, most
of them beautiful and daintily dressed. Cora
Sue's face, dirty from the long trolley ride out
to the studio, seemed to stand out. She was
given a screen test, and the picture was hers.

From Universal she went to Paramount to
play in "The Strange Case of Clara Deane."
Then M-G-M gave her the prized role of Norma
Shearer as a baby in "SmiLin' Through." This
was followed by parts in "Jennie Gerhardt,"
with Sylvia Sidney, and "Torch Singer," with
Claudette Colbert.

Cora Sue was one of two hundred little girls
who were tested for the coveted role of portray-
ing the child queen in "Queen Christina." She
was personally chosen by Garbo because she so
closely resembled the Swedish star in her
childhood.

Read This Before As\ing Questions

Avoid questions that call for unduly long an-
swers, such as synopses of plays Do not inquire
concerning religion, scenario writing, or studio em-
ployment. \\ rite on only one siae of the paper.
Sign your full name and address. For a personal
reply, enclose a stamped, self-addressed envelope.

Casts and Addresses

If her part in a picture calls for crying, Cora
Sue just has to think of something sad and big
tears come right out of those pretty brown
eyes. At home she never cries at all. She
likes to dry dishes and make ice-box cookies.
She can sing, too, and play the piano with two
hands. After having been chosen by Garbo to
play in "Queen Christina," she received over
two hundred requests for her photograph. She
autographed them herself. She has one pet, a
cute kitten whose name is "Cuddles."

Virginia Geis, Chicago, III. — Sally Rand,
the fan dancer, was in pictures way back in
1925. She appeared in Sennett, Roach and
Christie comedies before graduating to feature
length pictures. Was a Wampas Baby Star in
1927 and left the screen in 1928 for the stage.
Sally's real name is Hazel Beck. She was born
in Winchester, Ky., April 3, 1905. She is 5
feet, % inches tall; weighs 115 pounds, has ash
blonde hair and gray eyes. You will be seeing
her on the screen again soon in "Bolero" and
other productions. Lois Wilson and Marion

Da vies are each 5 feet, 5} 2 inches tall. Lois
weighs 120, Marion three pounds more. Anna
Sten is 5 feet, 3 inches tall and weighs 110
pounds. Dorothea Wieck is two inches taller
than Anna and weighs eight pounds more.

Joe Tripi, Worcester, Mass. — I'm a base-
ball fan too, Joe. William Haines played the
role of Jim Kelly in "Slide, Kelly, Slide."
Sally O'Neil appeared with him.

B. A. Lee, Fiji Islands. — Thanks for that
perfectly grand snapshot you sent me. How
do those boys like our movies down your way?
Dorothy Mackaill is still in pictures. Her
latest is "The Chief," in which she appears
with Ed Wynn.

Richard Kantsky, Indianapolis, Ind. —
Esther Ralston is now under contract to M-
G-M, so you will be seeing her more frequently.
She recently made "By Candlelight" for Uni-
versal.

R. Schonberger, New York City. — Beau-
tiful Billie Dove was born in New York City
on May 14, 1903. She is 5 feet, 5 inches tall;
weighs 114 and has dark brown hair and brown
eyes. Was married to Robert Kenaston last
May. She is not working in pictures just now.

Alma, Buenos Aires, S. A. — You certainly
admire Paul Muni, if you really mean all you
write about him. You will see him next in
"Hi, Nellie," a newspaper story.

Ruth Selfrtdge, Term: Haute, Ind.—
Diana Wynyard was born in London, England,
January 16, 1908. She is 5 feet, 6J^ inches
tall; weighs 127 pounds and has golden brown
hair and dark blue eyes. Her latest picture
was "Reunion In Vienna."

Photoplay Magazine for February, 1934

Alice Carley, Chicago, III. — Alan Dine-
hart had a long and successful stage career
before he started making pictures. He is a
native of Missoula, Mont., born there in 1889.
He is married to Mozelle Brittonne.

J. R., Sax Francisco, Calif. — Frank Law-
ton played the role of the younger son in
"Cavalcade." Margaret Lindsay was the girl
the older boy married. The four children who
appeared in the early part of the picture were,
Dick Henderson, Jr., Douglas Scott, Sheila
MacGill and Bonita Granville. Margaret
Harris was played by Irene Browne.

Alice Serin, Adrian, Mich. — Robert
Young is 26 years old. His latest pictures are
"Hell Below," "Today We Live," "Tugboat
Annie," "Saturday's Millions," and "Caro-
lina."

Anita Crawtord, Adrian, Mich. — So you
and Alice like the same boy, eh? Bob Young
was the lad who played the role of Ricardo in
"The Kid From Spain." You just didn't
recognize him with the little mustache. Ed-
mund Lowe's latest picture is "Her Body-
guard." Joan Blondell was 24 years old on
August 30; Lew Ayres the same in December.

A. G., Alexandria, La. — Colin Give was
born in St. Malo, France, about 33 years ago.
He entered pictures in 1929. Elizabeth Allan,
newcomer to the American screen, was born
in Skegness, Lincolnshire, Eng., in April, 1910.
She started making pictures in Europ : in 1930.
Early last year Metro brought her to Holly-
wood. In private life she is Mrs. William J.
O'Bryen.

Hersch, Lake Placid, N. Y. — Johnny
Weissmuller's new picture is "Tarzan and
His Mate." Joan Bennett, Elissa Landi,
Marlene Dietrich and Kay Francis are each
5 feet, 5 inches tall. They weigh 108, 119, 120
and 112 respectively. Joan Crawford is one
inch shorter than these girls and weighs 115.

Shirley, Swampscott, Mass. — Lots of
other girls are crazy about Onslow Stevens.
too. He is a Los Angeles lad, born there on
March 29, 1906. He is 6 feet, 2 inches tall;
weighs 175 and has brown hair and brown eyes.
He was on the stage before going into pictures.

Best news in years

for lovely fingertips . . .
GLAZO now only 25c!

The new Glazo is getting hearty cheers
from girls who formerly paid lots more
than a quarter for nail polish. But they're
much less excited about the money they
save than about Glazo's superior virtues.

Glazo's new lacquers are richer in lus-
tre ... so fingertips are lovelier, more
gloriously beautiful, than ever before.
What's more, actual tests show Glazo
wears 50% longer.

And colors? Glazo's six authentic shades
are approved by leading beauty and fash-
ion authorities . . . and the exclusive
Color Chart Package shows just how

Another good Broadwayite, gone Hol-
lywood. Hal Le Roy, dancer, has been
signed by Warners to star in the
talkie-version of "Harold Teen"

they'll look on your nails — solves the
whole problem of selecting the exact
shades you want.

Glazo's new metal shaft brush, with
its soft, uniform bristles, assures perfect
application on every nail. And the brush
just can't come loose.

Ever run out of Polish Remover at the
most exasperating moment? Glazo Re-
mover now comes in an extra-size bottle . . .
enough to last as long as your polish.

If you've been paying two or three
times as much, you'll just appreciate
the new Glazo all the more.

GLAZO LIQUID POLISH. Six authentic shades.
Natural, Shell, Flame, Geranium, Crimson, Man-
darin Red, Colorless. 25c each. In Canada, 30c.

GLAZO POLISH REMOVER. A true cosmetic,

gentle to nail and skin. Removes even deepest polish
completely. Extra-size bottle, 25c. In Canada, 30c.

GLAZO CUTICLE REMOVER. A new liquid cu'.ide
remover. Extra-size bottle, 25c. In Canada, 5 c.

GLAZO TWIN KIT. Contains both Liquid Polish
and extra-size Polish Remover. In Natural, Shell,
Flame, 40c. In Canada, 50c.

THE GLAZO COMPANY, Inc., Dept. GQ-24

191 Hudson Street, New York, N. Y.

(In Canada, address P. O. Box 2320, Montreal)

I enclose 10c for sample kit containing Glazo Liquid
Polish, Polish Remover, and Liquid CuticleRemover.
(Check the shade of Polish preferred) . . .
□ Natural C Shell □ Flame D Geranium

John, the Great

CONTINUED FROM PAGE 45

When I inquired whether he hoped to bring
"Hamlet" to the screen, he thoughtfully re-
plied:

"I not only hope but fully expect to do so.
I believe the time is approaching when it will
be done in a talking picture. One reason for
this conviction is that I have the greatest
respect for the intelligence of the movie audi-
ence, another that I feel certain film producers
will shortly realize that ' Hamlet' is not merely
a Shakespearean play but a vital melodrama
that will make them a lot of money."

Throwing down his napkin as though it were
a gauntlet, he took up the question of Shake-
speare and the masses.

"TT may be that movie producers don't, as
■*-yet, fully realize what a good, fast-moving
melodrama 'Hamlet' really is, but they will,"
he declared. "Just as one man in New York
did when we were giving the play there. A
Tammany politician called up Sam Harris, at
whose theater the production was running, and
was sorry to say:

" 'I don't know how she got that way, but
my wife's crazy to see that play you've got at
your place — " Hamlet," ain't it? — an' nothin'll
do but what I go with her tonight. If you've
got 'em, I wish you'd save me a coupla seats on
the aisle so I can make a quiet sneak as soon as
the house is dark and beat it over to Dinty
Moore's.' "

"That night Dinty lost, and Shakespeare
won a customer. The Tammany gentleman
left his seat only long enough to tear out be-
tween acts and tell Harris the play was 'the
works.'

" 'Say, Sam,' he wanted to know, 'you don't
mean to tell me that Shakespeare wrote it?
Why, it's swell! Even Owen Davis never
turned out anything better. Gee, that tough
mug with the big beard — yeah, the guy that
married the kid's mother after bumping off his
old man — is sure gettin' away with murder.
He's puttin' it all over the poor little fella.
But the kid's there with the wallop, an' I hope
he gets even with that dirty double-crosser.'

" 'Shakespeare sees to that,' Sam assured
him.

" 'Good!' cried the Tammany man. 'I'm
goin' right back for the knockout!' "

Mr. Barrymore squared the shoulders he got
from his father, Maurice Barrymore, amateur
champion middleweight of England in his day,
and added this punch:

"Then remember what happened when the
late E. H. Sothern and Julia Marlowe went
down to Fourteenth Street in New York for the
first time and played Shakespeare for months
at the vast Academy of Music to gigantic audi-
ences. Their experiment proved what I'm
getting at.

"They discovered it was the masses that
supported Shakespeare, particularly 'Hamlet.'
They found, too, it was the poorer people who
largely made up their audiences.

"The same thing was true when they made a
tour of the country, also at popular prices. It
is only reasonable to believe there would be the
same response from movie audiences at even
lower prices."

"pAITH glowed in the imperishable Barrymore
■*■ profile, made to order for the Prince of Den-
mark. Back of it burned the determination to
give talking pictures the greatest play ever
written, with its greatest character played by
not only the greatest actor on the screen, in my
none too humble opinion, but the greatest
actor in the English-speaking world. Should
you, by any chance, be inclined to differ with
this high estimate, you may consider yourself
duly challenged to name another who can
match John Barrymore, comedian and tragedi-

an alike, in skill, intelligence, variety and
brilliance

Often I had wondered why he left the
theater, and now I asked him.

"What caused you to give up the stage?"

"A swordfish," was his solemn reply.

"A swordfish?"

"A swordfish. Once, when I was new to
Hollywood and swordfish were brand-new to
me, I caught one in the waters off Catalina, to
my great surprise, intense delight and extreme
embarrassment. The swordfish evidently felt
the same way about it, except for the delight.
He — I speak advisedly — was reserved, rather
than cordial. Obviously, he was not glad to
meet me. Indeed, there was about him a cer-
tain aloofness, a seeming reluctance, even to
meet me halfway. In fact, he was disposed to
cut me dead. For my part, I was ready to fall
upon his neck, but not being able to make con-
nections, I fell on everything else — the capstan,
the deck, a barrel of new-laid tar, and my own
resources. At last, the social amenities over, I
pulled my chest out of my back and let it swell
with pride. Later there was swelling else-
where, but no matter.

"That swordfish had changed my whole life.
I wanted to live forever after where I could
meet other members of his family, be in touch
with his brothers and sisters, ask them up any
time. To this end, I straightway became a life
member of the Tuna Fishing Club, with the
proud degree of S. C. (Swordfish Catcher)."

"Anything else?"

"Yes," he hastened to say. "Shortly after
meeting the swordfish I met Louis B. Mayer."

"And New York was forgotten?"

"By no means," protested Mr. Barrymore.
"I have a terrific feeling of gratitude toward
the New York public, for, as the saying goes, it
made me what I am today. I have much the
same feeling toward Arthur Hopkins. The
reason Hopkins is particularly interesting to

Loretta Young has been promoted to
stardom! This dramatic scene with
Etienne Girardot is from her first
starring vehicle, "Born to Be Bad" —
story of the "customers' girl racket"

me as a stage producer is that all the plays in
which I appeared under his management —
'Redemption,' 'The Jest,' 'Richard III,' and
'Hamlet' — were taken off when we were selling
out. It means a lot for a producer to do that
against the good of his own pocketbook. But
it is immensely for the good of the actor. He
should not be kept in a part until it becomes
mechanical to him."

"What does the screen offer to the stage
actor?" I inquired.

"Primarily, lack of repetition," said Mr.
Barrymore. "There is nothing so deadly to
the actor as repetitious work. During the New
York run of 'Hamlet,' when we were giving
eight performances a week, Stanislasky,
director of the Moscow Art Theater company,
the finest organization of actors in the world,
came back to see me one afternoon. 'When
are you going to play this again?' he asked.
'Tonight,' I told him. He nearly fell into the
bass drum. Partially recovering from his
astonishment, he said that in Russia a play
was never given more than two or three times
a week.

"CTRANGELY enough," pursued Mr. Barry-
'-'more, "it is only in our country and Eng-
land that plays are put on for long runs. Of
course, no matter how long he plays it, there
always is something new for an actor to learn
in a part like Hamlet. Yet, two years later,
when I played it in London, I found a tre-
mendous gain from the rest."

"Do you find much the same rest in pic-
tures? "

"Yes, because of the change they offer. I
like it. You can do five pictures a year, but
you can't do five plays a year. Sometimes it is
difficult to get a producer sufficiently interested
to do even one play for you. I felt this when
'Peter Ibbetson' came into my hands. After
pondering the matter, I decided to take the
play to Al Woods, who, though wondrous wise
in the theater, had not been given to the pro-
duction of the mystic, nostalgic drama. But I
thought of a way to approach him on the
delicate subject.

" 'Al,' I began, 'I've got a fine play, and I'd
like you to do it.'

" 'What's it about, sweetheart?' he wanted
to know.

" 'Well,' I informed him, 'there's a scene in
which Lionel calls me a dirty name and I hit
him over the head with a club.'

" 'I'll take it!' he promptly declared."

Then Mr. Barrymore recalled:

"•"THAT was an interesting question of yours
*■ as to what the screen offers the stage actor.
For one thing, I think it's just as well for an
actor to have had some stage training before
going into talking pictures, though I wouldn't
say it is absolutely necessary. There have been
miraculous exceptions. After all, there's
nothing new or mysterious about human
speech. The only thing an actor needs to do is
speak naturally. And it's not so much how
he acts as how he behaves. Above all, he must
be careful in front of the camera, which en-
larges the face five times. If he acts there as
he had acted on the stage he will find he is
giving a remarkably good imitation of St.
Vitus."

"You suffered from that trouble?" I sym-
pathetically inquired.

"I nearly died of it," he groaned. "Worse,
my early parts in silent pictures involved
serious complications. I was in tights so often
that I felt like Frankie Bailey glorifying Weber
and Fields. Then, too, those dark green
romantic roles, with hair closely resembling
clinging ivy, made me look as though I had
lived for centuries in ruined castles. I used to

Photoplay Magazine for February, 1934

feel deeply grateful that I was spared, at least,
the ordeal of coming before the curtain in that
bizarre get-up, as might have been the case
on the stage.

"The screen actor may well be thankful that
he is saved the terrifying experience of making
a curtain speech. When his picture has its
premiere — I believe that is the accepted term
— he can run home, lock himself in, and feel
a certain sense of protection. That's why I
keep a dog."

When I remarked that he seemed to be
working very hard these days, Mr. Barrymore
made the surprising confession:

"I've got to work to keep from being
afraid of the 'big bad wolf.' "

"Why — have you ever been broke?"

"Have I ever been broke!" he yelped.
"During my earlier years that was my normal
condition. In New York I knew the entire
free lunch route from Third Avenue to Tenth.
What's more, I knew the special days on which
my good friends, the bartenders, set out hot
dishes. If there's one thing I pride myself on,
it's as a free lunch authority."

ALL the Barrymores have, in their time,
been on short rations. Ethel Barrymore
once told me that while tramping the streets
looking for a job in London she lived for two
weeks on a bag of dates.

"Which would you say is worse," I now
asked her younger brother, "being broke in
New York or in Hollywood?"

"That's a fine distinction I hesitate to
make," he faltered. "But sometime ago I
read an amazing article in a Los Angeles news-
paper telling of a fellow who lived for two years
on ten cents a day. He squatted in the Holly-
wood hills. But where in New York are you
going to find a place to squat for a week, let
alone two years? My best record was two
nights, under a bench in a New York park,
when the cops routed me out. I sank into
sweet slumber both nights gazing raptly at a
weather-beaten statue of Farragut. Indeed,
I all but qualified for membership in the Farra-
gut Club.

"You never heard of it? Let me say, then,
that it was a most exclusive club, founded by
Oliver Herford, who was inspired by the same
statue, seen from under the same bench in
exactly the same circumstances as my own.
Whether his rest was disturbed in the same
way I do not know, but I do know that, in
the interests of the Farragut Club, he went to
great lengths. He went, no less, to Saranac.
There, in the Adirondack^, for the good of his
health, was Robert Louis Stevenson. Night
had fallen when Herford rapped at his cabin
door.

"'I have come,' he announced to his as-
tounded friend, 'to notify you of your unani-
mous election to the Farragut Club.'

"'And what,' inquired the puzzled recipient
of this signal honor, 'is the Farragut Club?'

"'I am,' was the proud answer. 'As its
sole member I elected you.'

"'But why have a second member?' won-
dered Stevenson.

"'For this reason,' whispered Herford. T
want to blackball Ambrose Bierce, and I don't
want him to find out who did it.'

"TUBAT a night that must have been,"

*^ enviously imagined Barrymore, "with
those two wits in full play! Herford, who had
tramped all the way there, was dead broke,
but he didn't give a hoot. When you're
young you don't mind — you regard it as an
adventure.

"But when you're older it's different. Just
now it's certainly tough on a lot of poor devils.
You can't help thinking of that 'big bad
wolf.'"

At this moment his business manager — a
born wolf tamer — brought him several checks
to sign. As John Barrymore busily scratched
his name, he glanced up with a quizzical smile,
and admitted:

"This is a form of calisthenics I loathe."

Who doesn't?

tZuL *•***'**

cating-orstort^ngColgaUs

, „stavery beautifal girl, Marjory
You are almost v. :y y ^ ^ your ,,ps _

men. Most men do. everything you

You're old enough to kno ^ kmd

of stain, either-buts seriously suggesting

And don't be * I ™ not s ^ q^%

that you stop eating. Duty

Dental Cream.

Why Colgate's? ^ nQt only hard

Because, the sta ms on you r ^ ^ ^^

^—^ Md most toothpastes
have only one cleansing acuon ^ ^

But Colgate's, my - ^as ^^ stain,

slve action that washes away g ^ oth

Andapolishmg ^j£*& make your teeth as
Together, these two * rf
dazzlingly beautiful as t ^ ^^ ^ ^

And now, " Au Revoir. ^ advertisement

of it instead But 1 hop y

If you do... we U be go gF
p. S. Colgate's only costs 20t for * Mg

Photoplay Magazine for February, 1934

Fredric March and

FLORENCE: "Where can Freddie be? Why, it's half
past eight, and we're due at Times Square to see the
preview of 'Design for Living' in twenty minutes!"

Get quick starting

and save money too!

Both are "double-range"-Mobiloil
Arctic and Mobilgas with climatic
control! "Double-range" because
no matter how cold the weather,
you always get a quick start. And
when your engine warms up, full
gas mileage . . . full oil protection.

SOCONY-VACUUM CORPORATION

FREDDIE: "Tonight of all nights to be stuck with a
car that won't start! Guess I'll call up a garage."

/t FREDDIE : "Sorry to be late, dear. I couldn't get the
car started but it's fixed now for good."

FLORENCE : "Never mind, we can still make it."

Mobiloil

Photoplay Magazine for February, 1934

Florence Eldridge

in a

Mobiloil Movie

" SMOOTH
PERFORMANCE"

Fredric March co-starring

with Miriam Hopkins and

Gary Cooper in "Design for

Living," a Paramount picture.

DEALER: "Your car'll be all right in a few minutes,
Mr. March. We're putting in Mobiloil Arctic and Mobil-
gas now. She'll be winter-proof then!"

^ FLORENCE: "My, it's a grand picture. And isn't she attractive — such a good little actress!"

FREDDIE: "You can thank another couple of smooth performers* for our being here on time!"
(*Mobiloil Arctic and Mobilgas.)

Mobilgas

Cal York's Monthly Broadcast from Hollywood

[ CONTINUED FROM PAGE 49 |

A^AYBE there aren't some nervous people
"Mn Hollywood these days since Mexico has
declared that those convenient and quick di-
vorces secured in the states of Chihuahua,
Morelos, Yucatan and Campeche are invalid.

And now Jack Holt, Zita Johann, Sidney
Blackmer, Sally Eilers, Hoot Gibson, Lenore
Ulrich, Max Baer, Dorothy Dunbar, Richard
Dix and many others who got Mexican di-
vorces, are wondering to whom they are married
and why.

Sally Eilers married Harry Joe Brown, the
director, since her divorce from Hoot Gibson.
Hoot has become seriously interested in June
Gale and Sidney Blackmer is completely lost to
Mae Clarke. So what's the answer?

However, attorneys are trying to find the
inevitable loop-hole that will make things
right for their clients. So we shall see just who
is married to whom in the next few weeks.

A LISON SKIPWORTH in haste
*^to get somewhere, took a bus.
The assembled crowd was slow in
climbing on. When Skippy had her
foot on the lower step, her six inches
of skirt that trails on the ground well
in hand, the bus-driver saw fit to ad-
monish, "Step lively, please."

Skippy impaled the fresh driver with
one of the best Skipworth glances —
"Young man," she informed him, "I
never step lively!"

rPHAT big new iceberg palace of Jean Har-
low's, with its white furnishings and white
rugs, has meant very little to Jean, it seems.
For all the elaborate white bed upholstered in
ermine. Jean never slept in it. Instead, she
slept on a couch in her mother's and father's
room. And after her marriage to Hal Rosson,
Jean made a present of the house to her mother.
'Tis said in Hollywood the home reflected her
mother's tastes entirely and not Jean's. Which
may account for Jean's lack of interest in it.

JANET GAYNOR noticed Stepin
Fetchit, the colored comic, munch-
ing on a carrot, and asked if he were
a vegetarian.

"Yas'm, I is," drawled Stepin.
"Don't you ever eat meat?" pur-
sued Janet.

"No'm. Only pork chops, thass
all," assured Step.

T_TOLLYWOOD gains another place in the

Blue Book," or New York Social Register,

by the inclusion of Dorothy Jordan's name this

Adolphe Menjou and Verree Teasdale are very shy of cameras when they
are together. But a crafty photographer caught them at the opening of
"Roman Scandals." Did they deny romantic rumors? They did not!

year. The reason Dorothy is so honored in this
criterion of social recognition, no doubt, is
her marriage, during the past year, to Merian
C. Cooper, the RKO-Radio head who, in addi-
tion to having made himself actually important
by his achievements, is of a socially prominent
family.

TTALK as you please, it pays to know the

right people in Hollywood. For instance,

one short year ago, Lyle Talbot was practically

an unknown young man in Hollywood, socially.
Today, his parents, visiting him in Hollywood,
are entertained royally by none other than
Mary Pickford herself. The reason? Well, it
seems Lyle set out to cultivate the socially
prominent Countess di Frasso and the Count-
ess did the rest for Lyle. His name, these days,
appears on all the exclusive guests lists in
town. And maybe you think Lyle's studio
isn't impressed.

[ PLEASE TURN TO PAGE 126 ]

Working Girl

Dancing to her was her job, and she saw
nothing frivolous or gayly exciting about it.
Neither did she see anything of which to be
ashamed. She took jobs dancing in Grau-
man's prologues and with Fanchon-Marco
revues, while attending the fashionable West-
lake School for Girls in Los Angeles. In the

[ CONTINUED FROM PAGE 70 ]

daytime she mingled with society debutantes
and frequently in the evenings danced before
the footlights.

She could never understand why her snob-
bish little schoolmates admired her when she
danced at school festivals and benefits, but
arched their eyebrows when they saw her on

the stage doing the same thing professionally.
She resented it, because she was doing her
job and doing it well. She was glad when she
left school and with it the "snobs" who didn't
approve of her stage dancing. Strangely
enough, she was later to portray "society
types" to achieve her greatest screen triumphs

in "Animal Kingdom" and "When Ladies
Meet." Since those two films she played
"moll roles" in "Penthouse" and "The
Prizefighter and the Lady."

Possibly these early resentments caused
Myrna to cling to a few proved friends; caused
her later to shy from Hollywood "sets" where
gossip and unfairness run riot.

"I have never felt that parties or social
'politics' of any kind have ever helped an
actress to success. At least, to lasting success.
Just as screen roles are definitely apart from
real life, so studio work can be and should be
definitely apart from social entanglements.

"After all, the really important thing in this
business is to deliver a performance, to make
yourself valuable — professionally. Every-
thing else is incidental, and entirely up to
one's idea of a good time. The old rule of
'Know thyself' is the most reliable rule a girl
could choose to follow in Hollywood. 'Know
thyself and Be thyself.'"

■pROM her very first "bit" role, Myrna Loy
•*- has studied her every part thoroughly be-
fore facing the camera. She has had to, because
even every bit was a character bit, and from
the first, a character with which she was
entirely unfamiliar.

Imagine a girl of nineteen undertaking the
portrayal of a temperamental Russian mistress,
or Lucrezia Borgia's chief poisoner as she did
in "Don Juan."

It was in this picture that John Barrymore
taught her the importance of correct costume.
She was amazed to see the star go down to the
wardrobe every day and carefully inspect all
the costumes to be used in the scenes. It
impressed her tremendously, as such meticu-
lous interest was rare in those days.

Ever since then she has been extra careful
about every costume she has worn, and fre-
quently makes them herself to be sure they're
right. It's good business.

During the days, or rather, the years in
which she was the perennial dark feminine
menace of the screen, and was playing every-
thing from Oriental houris to depraved
maniacs, she made a point of going deep into
the psychology, and even the religion, of her
distasteful screen characters.

" I never quite believed in them," she admits
today, "but I had to attribute some sort of
phobia to them to make them real. I had to
understand how anyone could be like that, in
order to make it convincing on the screen."

All the time, she wanted desperately to get
away from the sinister run of parts, because
she realized she was being hopelessly relegated
to that unsympathetic type, but at the same
time, she deliberately set about being ade-
quate, even perfect in them — because it was
good business to give a good performance!

She is frank in stating that she intends to
"make hay while the sun shines."

"One's life in this profession is not long.
You have to make your money while you can
so you will have enough for the future," she
observes wisely.

Up until recently Myrna has lived with her
mother and brother, quite modestly. She still
lives modestly, although by herself in a rented
house in Santa Monica. It is quiet out there,
and remote. She can rest and read, keep
physically and mentally fit.

■"PHERE'S only one thing which will make
•*■ her stop being essentially a working girl —
marriage. She admits it has almost happened
several times.

"But I don't think I would ever give up
my screen career entirely for marriage," Myrna
Loy states frankly.

Of course, there's an obvious answer to that.

She could marry someone who also has a
screen career to think about.

But when I mentioned it, there was dead
silence.

For Hollywood's working girl is nothing if
not discreet.

And Ramon Novarro is one person she just
won't talk about!

Photoplay Magazine for February,

rancisco

52 At Tne EMPORIUM

...Mis5implicitq

Gossard foundations are favored everywhere you find fastidious
women. Easy fitting clothes are not just a matter of luck . . . but of
what goes beneath the smooth exterior. The MisSimplicity* shown
in ihe sketch from The Emporium, is of Skinner's satin in peach ... or
exciting black . . . combined with fine elastic and matching lace . . .
typical of the many MisSimplicity* foundations to be found wher-
ever smart fashions are sold. The diagonal pull cf the cross-back
straps raises the bust and flattens the diaphragm and abdomen.

*Reg. U. S. Pat. Off.— Pat. No. 1,859,198

7£e

COWARD*.

off /£e&4sUtj

THE H. W. GOSSARD CO., Chicago • New York • San Francisco • Dallas
Atlanta • London • Toronto • Sydney • Buenos Aires

Last Round-Up

CONTINUED FROM PAGE 40

"Westerns have been badly hurt," says
Ken, "by cheap pictures — quickies. A bill-
board for a bad Western can be just as exciting
and attractive as one for a real picture of merit.
But the public has been fooled often, and a lot
of people don't like it."

A /f AYNARD protects his reputation by put-
■'■'■Ming money, often his own private funds,
into his pictures. He won't allow them to be
rushed out, regardless of quality, for quick
returns.

"Another thing," continues Ken, "I have
stuck to the old West, its authentic characters,
action and thrills. I keep in the plains and
the mountains; I use stage coaches, Indians,
bad men. I'll stick to the true Western to the
last ditch. Cowboy stars turning aviators
and mixing Western with modern thrills have
dug their own graves as cowboy stars.

"But the most serious menace to the con-
tinued life of the Western picture is that
today there are no training schools. No new
stars are coming on who can ride and rope and
shoot and do the spectacular Western action
stunts that make a rough riding picture popu-
lar. There aren't any more Wild West shows
like those of Buffalo Bill and Pawnee Bill,
where all of us cowpokes learned the fancy
riding and colorful show stuff which a regular
ranch hand never had time to learn, and never
will. It threatens soon to be a lost art — and a
Western has to have it."

But Col. Tim McCoy disagrees with May-
nard on the story question. Says the Colonel:

"Westerns have been 'rubber-stamped' out
of popularity. I quit making them, because
as a real Westerner myself I resented the far-

fetched, ridiculous stories that were given me.
A good story is a good story, whether it's laid
in the North, South, East or West — and the
same is true of a bad one. Most of the
Westerns have been bad ones."

And George O'Brien, who has been one of
the most successful Western stars, although
never rode the range in his life, advocated the
"sophisticated Western," paying more at-
tention to the subtleties of characterization
and drama, and less to the stock catalogue of
Western thrills.

"The difficulty is in getting new angles for
Western pictures," he believes. "I'd still
like to make about two Westerns a year, but
that's about all the actually good stories I
would be able to find."

TS/TOW the funny thing about it all is that
■*- ^ apparently people still do want badly to see
Westerns — not only the kids but the grown-ups.
Since the news was scattered about George
O'Brien's decision to quit, letters have poured
in asking him "please not to stop." Tom
Mix's retirement drew a similar flood of pro-
tests. Ken Maynard receives, almost daily,
letters from parents praising him for supplying
the "only moral type of picture fit for our
children to see."

Westerns are still tremendously popular
abroad. George O'Brien, on a recent trip,
was entertained by the Sultan of Jolo in his
bamboo theater with his thirteen wives, he
was going to show him a real American cow-
boy film, " Whispering Smith Rides" — a film
George had seen as a boy!

Ken Maynard even owes his life to his
Western screen exploits. Not long ago, on a

flight from Campeche to Merida, Ken was
forced down in the wilds of Yucutan and
surrounded by savages, who suddenly bowed
to him and helped him take off again. They
knew Ken. Somehow, they had seen his
pictures and liked him!

And recently, during the Olympic Games,
the athletes from abroad were surprisingly
blase when the currently important screen
stars visited the training village — but Tom
Mix's arrival almost caused a riot!

But while Westerns may eventually come
back, surely the grand old days of cowboy
pictures are gone forever.

The days when even the clothes the cowboy
stars wore set styles in Hollywood; when
horses went to banquets; when the cowboy
influence pervaded every phase of Hollywood
life have passed into memory.

/~^\NE former school teacher from " 'way
^Maown East" once came to Hollywood to
direct pictures and, a week after he had
arrived, showed up at the old Montmartre
cafe weighted down with six-guns and pro-
ceeded to flip bowie knives into the expensive
woodwork.

Eddie Brandstatter, the proprietor, rushed
to him, only to be rudely shoved aside, and
to hear a strange hybrid Eastern Yankee
twang mixed with a Texas drawl advise him:

"Lope on, thar, stranger, I'm a-practicin'
agin' my neighbor. He kicked my dawg, an' I
aim to settle it in the good old Western
way!"

He had gone completely Western in a week !

That was when Hollywood was a real cow-
town!

Drums in the Jungle

CONTINUED FROM PAGE 80 J

had gone savage, back across the continents
and ages!

The beat of the drums pulsed faster and
I looked 'round to see a solid circle of hundreds
of black faces peering through the spaces be-
tween the trees, the same wrapt expression and
hideously rolling eyes, the weird rhythm of the
drums of the night sunk deep into their super-
stitious souls.

I was afraid. I felt them closing in on me,
nearer; nearer.

THEN I saw a tall and beautiful dark-skinned
girl (Fredi Washington), clothed only in a
short beaded skirt, brassiere and barbaric silver
bracelets.

She began to dance exquisitely, passionately,
before the idol. Suddenly she paused, and
lighting a fagot fire, she drew the body of a
white woman within the circle of light. She
was about to cast her into the heart of the
flames.

A negro appeared and laughed. He held up
a necklace and then threw it into the fire.
"There! I've thrown your charm into the
fire. Your power over the white woman is de-
stroyed!" The unconscious girl opened her
eyes. The heroine was saved!

"Terrible!" rasps an American voice across
the frail tissue of my vision. The scene crum-
ples.

The magic daylight wanes. The beat of
the tom-toms dies away.

I knew all along, subconsciously, that it was
only a movie scene. But there was something
horribly real about all this. There was a mystic

drama going on within the drama into which
that little "white company" had been drawn
despite themselves.

Even under the ordinary electrics, I hardly
recognized my old friends — ghostly, haggard,
drawn and nervous.

"Lights!" The movie had to go on — and on
■ — and on.

Under that unearthly glare they looked like
the cadavers of that sprightly galaxy that had
boarded the "Haiti" on a bright noonday,
seven weeks before.

"On the job there you!" snapped Terwili-
ger irritably. "We want to get out of here
alive!" Out there he looked ludicrously
Hollywood in his sleeveless sweater and riding
boots.

The blacks sullenly took their places, squat-
ting again on cocoanut shells that looked more
like skulls.

It was quite obvious that they were fearful of
this tampering with black magic.

T WAS impressed by the service revolver the
-*■ assistant director carried in a holster on his
belt.

I saw many rolling eyes fixed on it, too.

"Silence! I don't want to tell you fellows
out there not to talk or walk about again!"

"Roll 'em over!" bawls the assistant into
the darkness to the distant sound wagon.

"Okay!" comes back.

"Action!" shouts the director.

"One of those women is out of line again!"
yells the look-out from his crow's nest in the
lighting scaffolding.

"Hold it!"

"Fifty feet lost," records the fellow with his
eye at the sight of the traveling camera that
Carl Burger is riding like a farm tractor.

"Action!"

"Camera okay?"

" It never was — the snake went dead on us! "'
The pickaninny who was supposed to keep the
trick snake wriggling 'round the idol's neck had
gone sound asleep.

"Another scene gone to blazes!" groans Ter-
wiliger. "Shoot her over again."

"DANG! Total darkness. The power plant out
■'-'of commission again. Two hundred feet
more of film N.G. Take and retake. Every-
body, sweating and fuming; fanning themselves,
swatting or jabbing at vicious poisonous in-
sects.

"Lay off everbody! Chow! Grub!"

My appearance caused a sensation, not of
surprise, but because they were hungry for
something, anyone, from the sweet white
world. The blacks had slunk out in outer dark-
ness. All my movie friends were there but one.
I asked about him.

"He passed away," was all they would say.

A great winged insect, the size of a small
sparrow, lighted on Fredi Washington's body
and her maid began to annoint her and wrap
her in towels.

"If I weren't sprayed with disinfectant from
head to foot every hour of the day and night,
I wouldn't be here to tell the tale," she said
sitting up and smiling.

We were all sitting around on cocoanut shells,

Photoplay Magazine for February, 1934

tom-toms and banana tree trunks, pretending
to eat supper at 2:30 a.m. Anything to keep
away from the ground where the ants would
gnaw you to the bone in a few minutes. But
there was no way of escaping the ticks that
festered under your skin. And the over-sized
jungle grasshoppers and crickets nosed into
everything, including your ears. The mos-
quitoes never let up.

" TT'S this mist from the swamp the cloudburst

-'•left," explained Terwiliger. "Two of our
black men living in the cooley were drowned in
that downpour — and that didn't set so well on
our voodoo violation either. Why, we had to
burn up hundreds of gallons of gasoline trying
to dry up the mud, and I don't know how many
loads of sand we dumped in to make passage
possible. Twenty-four inches of rain in twenty-
four hours!"

"And you should have seen the big cyclone
that hit us — and two little ones," put in Bur-
ger. " Ripped out our whole outfit that it took
a week to build! Certainly, we're working
against a jinx!"

"If you want to get a turn, just look at the
Big Dipper turned upside down in the heavens,"
observed Winnie Harris. " Things are all wrong
out here, I tell you. That old woman witch
doctor who says she is two hundred years old
has been giving me dirty looks all evening."

"There's another rooster crowing!" wailed
the director. "They bring them here and park
them nearby on a string — against my orders.
Game cocks, you know, and they live and
sleep with them and have all sorts of supersti-
tions about them. People back home will think
we're near a barnyard, if they hear a rooster
crow!"

■"THEN the call back to work. "On the job.
*■ Come on now, let's cut down this penal ser-
vitude!" The tom-toms begin their ceaseless
beat, the jungle closes in. And so, all through
the night, to the tune of flying, whizzing, bit-
ing creatures, and the occasional yelp of a beast
in the jungle.

The pitiless white glare, endless cigarettes,
the distant rumble of the power plant — till
the crack of dawn. Then we all make our
way more dead than alive back to the Myrtle-
bank Hotel. Marie Paxton, the heroine, moans,
"Oh, I |can't sleep! I can't sleep in these
glaring, burning days!"

And some day when millions of people thrill
to this magnificent spectacle of jungle pano-
rama and shudder over the revelation of black
magic, some will say, "What a life! These
movie people! Haven't they got it soft? Big
salaries, going on a picnic to the West Indies
and living on milk and honey! Sure, maybe
they do put in a few hours a day making a pic-
ture like that. But what of it?"

Yes, indeed, what of it? If you can take it.

Heart Throb

Two years ago I was a "live wire"
enjoying life. Then, a serious acci-
dent, in which my ankle and knee
were broken.

I had no books to study, no talkies
to choose from, no "stars" to watch,
but I recovered only to find my eyes
were affected and an operation took
one eye from me. The other I feel
will follow.

I've a hard battle to fight. Per-
haps some day I will have only mem-
ories to help me on my way. But the
"stars" still glisten and, if I can see
them no more, I know someone will
talk to me of the happenings in
movieland.

Mrs. Charlotte H. Twombly,
Laconia, N. H.

Pain is nature's warning that teeth are
diseased. The cause of pain is usually
decay and an important cause of decay
is the invisible film on teeth that
science calls "Bacterial Plaque."

Contrast the attitude of the
eavage below who files his
teeth with that of the mod-
ern young woman who keeps
her teeth white and beauti-
ful through daily use of
Pepsodent.

Modern children may well be

expected to have far better

teeth than .heir ancestors.

THE actual cause of
the aching tooth is
now believed to be due
to gases, formed inside
the tooth during the
process of decay, that
may or may not be vis-
ible to the dentist from
the outside.These gases
expand and press on
the sensitive nerves of
the tooth.

Dental science an-
swers the question of
what leads to tooth de-
cay by saying that food
particles have been
permitted to remain
and spoil between the
teeth and under the
gums. Germs formed in and by this decaying
food make acids which attack the cement-
like structure of the teeth and dissolve it.
•When enough of the tooth material has
decayed away, there is left only a thin cov-
ering for the nerve of the tooth — pain or
toothache result.

The germs that cause the decay-produc-
ing acids have a friend in the film-coat, or
mucin plaque, which forms on teeth. This
film glues the bacteria to the teeth, pro-
viding shelter and food for germs.

Removal of film has therefore become an
important problem for dental science. One
of the most notable discoveries in this field
was made recently in the laboratories of
The Pepsodent Company when a new and
revolutionary cleansing mate-
rial was developed. The cleans-
ing and polishing material is
the part of any tooth paste that I
does the work. Herein lies
the difference between the

Cross-section of a tooth showing
structure beneath the enamel.

best tooth paste and inferior brands.
Most cleansing materials are either
so hard and abrasive that they
scratch the tooth enamel or else
they are so soft that they fail to
remove film and stains. To develop
a material that would outrank
others both in effectiveness and in
safety required several years and the
assistance of the ablest scientific
minds in the country.

This new discovery is contained
in Pepsodent Tooth Paste exclu-
sively. Because it is twice as soft as
the material most commonly used,
Pepsodent is looked upon as the
modern standard of safety. At the
same time this new material stands unique
in its power to cleanse and polish teeth.
r- — — -i

FREE— N>-Day Tube

THE PEPSODENT CO.

Dept.ll2,919No. Michigan Ave.,

Chicago
Mail 10-Day Tube of Pepsodent to

Name

Address

City t

This coupon is not good after July 31, 1934.
Only one tube to a family

And Here We See The Real "Little Women"

[ CONTINUED FROM PAGE 75 ]

"Amos Bronson Alcott, their father, was a
dreamer. A most impractical man who never
seemed to be able to reconcile his high ethical
standards to the business of living. He was a
spiritual sort of person, far ahead of his time.
And eventually, when his lifetime dream of a
little school of philosophy came to realization,
he was so very happy.

"TDUT even that little school didn't last.

-'-'And at the time he closed it, the family were
in dire circumstances. It was Ralph Waldo
Emerson who came to their rescue with five
hundred dollars.

"Strange," Mrs. Pratt mused, "how family
traits are handed down from one generation to
another.

"'Meg' was just like her father. She was
my husband's mother and I can notice very
often the same 'dreamer' qualities in my own
daughter.

"'High thought and low diet' we used to
call it in the old days. But that's the tendency
which has done so much for world develop-
ment, isn't it? Where would we be if it weie
not for the dreamers?" Mrs. Pratt smile 1
indulgently.

"Little 'Amy' was so tjpical of May Alcott."
Mrs. Pratt said, after a moment. "May wis
forever dressing up and playing grand lady.
She always wanted her curly hair to be in r er-
fect order and she took great pains to get those
curls up in papers every night.

"May had a talent for painting and sketch-
ing, too. And once, when she decided to be
very, very independent, she went so far as to
join a Boston stock company and act in plays.

" See," Mrs. Pratt pointed to some water col-
ors in wide, old-fashioned frames on that
parlor wall, " those are some of May's pictures.
Ihey're considered good by critics.

" A A AY never could make up her mind
•'•''■'•whether she wanted to follow a career
like her sister Louisa did, or whether she
wanted marriage. It was a very modern point
of view for a girl in our generation.

"But when she was thirty-eight, she met a
man in London with whom she fell in love.
His name was Ernest Xieriker, a Swiss gentle-
man. May married him. Two years later
little May died in Paris where they had gone

to live so she could continue with her art
study. May left an infant daughter.

"Louisa sent for the child and found much
of her happiness rearing the little girl. The
child had been named Louisa May Nieriker.
And she and Louisa were almost like mother
and daughter until the girl grew up. Then her
father returned from Europe, claimed his
daughter, and took her to his home in Zurich.
She is now the wife of Emil Rasim and lives in
Vienna.

" But the loss of the girl was a great blow
to Louisa. She missed more and more having
someone to love and care for as her fortunes
increased and she grew older.

" ' I 'HE old Orchard house was sold then. The

-*- girls had married and Louisa had lost pos-
session of her niece. The old house had been
their family home for a good many years.
Louisa came to live with us in this house which
the Alcotts had once occupied. And it was
here, in closest family contact, we learned to
really appreciate 'Aunt Louisa' for the' fine
person she was. She represented the clear-
thinking, independent, new kind of woman
this generation was to develop. Her advanced
ideas about life were fascinating. Later on,
Louisa adopted her nephew, John Alcott Pratt,
who was my husband's brother. The longing
for the old family atmosphere was always with
her and she tried for years to recapture the
spirit which had prevailed when they were all
together.

"Louisa bought a house in Boston and set
up her own housekeeping. And while the
place was more spacious and much more luxuri-
ous than she had ever enjoyed during her girl-
hood, she still clung to the homey atmosphere
of quiet simplicity.

"Poor little 'Beth' never was very well-
known by anyone. She passed away too young
to have had romance touch her life. One by
one, in later years, the girls followed. First it
was Mrs. Alcott, their fine, strong-minded,
practical mother, who slipped quietly out of
this world to be with 'Beth'. Mrs. Alcott had
pulled her family of little women through many
a tight place by her practical sense and good
sound judgment.

"Then, early in March of 1888, Mr. Alcott,
who had been ill for some time, failed rapidly.

Louisa drove in from Dunreath Place, Rox-
bury, where she, too, was under treatment.
She came in to her town house to see her
father, conscious that it was for the last time.
"Early next morning she was in a serious
condition herself. And on March 6th, Louisa
passed quietly on to the rest which she so
much needed. She never knew that her father
had already preceded her by two days.

T" OUISA had done a good job all her life

■'-'for the little women who comprised her
family."

Mrs. Pratt stopped speaking. It was the
end of her memories.

She had been taken by her daughter to see
the picture production of Aunt Louisa Alcott's
immortal novel. It was the first talking pic-
ture Mrs. Pratt had ever witnessed.

" I liked Katharine Hepburn's fine work,"
she said, when we asked her if it was true to
the old atmosphere and spirit of the girls as
she knew them.

"Miss Hepburn was a perfect choice for
Louisa (Jo). She typified her fine spirit
throughout the entire picture. Little Amy
(played by Joan Bennett) was very much like
May Alcott, even to the curls and the scrib-
bling and her grand lady mannerisms. Meg
(played by Frances Dee) was so very much
the woman I knew as Anna Alcott, my own
mother-in-law, that her presence on the screen
brought back a thousand memories to me."

A/f RS. PRATT never knew little ' Beth'. The
■'"■'■girl had passed away before she had mar-
ried into their family. But from what the sisters
had related of Beth, Jean Parker had caught her
character to perfection. And Jean looked as
Beth did, too — a little wistful always, with
wide, innocent eyes and a round face. To Mr.
Harold Hendee, who had duplicated in the
studio sets, the atmosphere of the Alcott fam-
ily life, Mrs. Pratt sent her sincere appreciation.
As I was leaving this lovely old room, my
eye caught a framed motto, painted by May
Alcott long ago. It was suspended against the
faded old wall paper of that little parlor and
it proclaimed to all the world that: "A good
name is more to be envied than great riches."
The spiritual guide which those little women
have radiated through all the years.

Why I Quit Hollywood

CONTINUED FROM PAGE 54 ]

made that inevitable. So far as any chance
for acting is concerned my part wouldn't have
taxed the ability of an extra man.

"With all due shame I have to admit that
the money they offered me to play the role
tempted me into making a chump of myself.
It was a ridiculously huge salary they dangled
in front of me — and I fell."

T^OUG, JR. had about finished saying this
■'—'when a sudden offer came for him to go
back to Hollywood. It was an enticing contract
offered by RKO-Radio. He turned it down
fiat.

Then came a copy of the play, "Success
Story," they wanted him to do. Fairbanks,
Jr. read it over. It was exactly the sort of
thing he liked doing. A one-man starring
vehicle peculiarly fitted to his talents. And
for that reason alone he cabled that he would
return.

It might have been a little embarrassing
afier this diatribe on Hollywood. But the
explanation of his sudden change of plans
sounded logical. Yet Doug insists he will
never return to Hollywood picture-making
permanently. He's well established with
London Films, Ltd., and his trips to Holly-
wood from now on will be flyers, for special
assignments only.

"For the first time in years I'm utterly
happy. I've never had so much fun in my life
as I've had making 'Catherine the Great.'
Naturally I've no idea what John Public is
going to say when he sees the picture. It may
be a box-office flop. But whatever its fate,
it's the most worth while thing I've ever done.

"And so with the other pictures that are
lined up for me. I believe in every one of
them. They are all the kind of thing I want
most to do. And the men with whom I'm
working — from Alexander Korda down — are

all inspired with an ambition to prove that
commercialism doesn't necessarily have to
enter into successful picture-making.

" Creativeness — in Hollywood — is as little
appreciated as it is suspected.

"Think of the hundreds of thousands of
dollars that have been spent on boosting me as
a star! And what I have to say about myself
goes for dozens of other men upon whose
starring careers tremendous sums of money
have been squandered.

SQUANDERED is the right word. For
what inevitably happens to every one of
those male stars? In every case, sooner or later,
they find themselves cast in a role like mine in
'Morning Glory.' And that is the beginning
of the end. For you can't play fast and loose
with your public.

"When they pay their good money to see a
star they expect to get their money's worth

100

Photoplay Magazine for February, 1934

IOI

out oi seeing him do his stuff. If they discover
he is actually of about as much importance in
the cast as any of the other bit players, they
not unreasonably feel cheated. And it is the
star who has to shoulder the blame. Those
admirers of his who now decide he has for-
feited all right to their admiration are off him
for life!

"Hollywood hasn't destroyed Harold Lloyd
and Charlie Chaplin. But they're their own
bosses.

"Nobody can do them any damage. The
picture may be good or bad — but at least it
will be a star vehicle.

"But this cannot be truthfully said of any
other male star in Hollywood. I haven't the
slightest doubt that the biggest (male) star
would be sacrificed — if his bosses thought that
by so doing they could add to the box-office
value of some new girl.

" HTHE proved popularity of a George Arliss

■^ or a Charles Laughton means nothing to
those who run the Hollywood show. Where, they
will ask you, is their sex appeal? Box-office
magnets they'll admit they are — but they
don't know the reason why this is so.

"Unaware of the public's appreciation of
great acting, they are mystified when a Marie
Dressier or a Katharine Hepburn packs 'em in.
Such as these truly great artists — in the lan-
guage of the film factory chieftains — are
freaks.'

"And so with every male star in Hollywood !
The best that any of them can look forward
to is the ignominy of finding himself cast oppo-
site the woman star who is momentarily in the
ascendant.

"And to submit to that sort of thing is too
stultifying for most men.

"Imagine a Coquelin consenting to appear
as Bernhardt's leading man!

"Picture what Henry Irving would have
had to say to the suggestion that he 'feed'
a woman star of his day, however great she
might have been.

"Why, even such an incurably romantic lover
as Nat Goodwin — at the height of his in-
fatuation for the beautiful Maxine Elliott —
was the star of the plays in which they
appeared together!

" When they talk 'sex' in Hollywood — and it
takes an earthquake of the first order to
interrupt that talk — they think in terms of
beaded eyelashes and lipstick-smeared mouths.
To listen to them you'd think the female of
the species is not only more deadly than the
male — you'd discover the only excuse for
the existence of mere males is to serve as un-
worthy recipients of beautiful sirens' favors.

"So long as Hollywood has the money to
spend, she will continue to be able to lure
male actors of ability to come in support of
some woman star of no particular importance.
But sooner or later, unless I am very much
mistaken, more and more of the worth while
males of Hollywood will reach the conclusion
at which I arrived a long time ago.

"When they do, they will follow my ex-
ample and bid Hollywood a permanent fare-
well.

"And then they will hie themselves to this
tight little isle where there is no mawkish
sentimentality about the fair sex, where men
still rule the roost, where 'sex' (in the Holly-
wood sense) is called by its right name and
appraised at its true, unimportant value.

"T MAY not make so much money out of
•*- these British-made films as I have made in
the past in Hollywood — but at least I'll go on
having a grand, glorious time. And I'll make
only pictures which I honestly believe are
worth while. And I'll be the star of those
pictures.

"Not one of those three statements can be
truthfully made by any male star on the pay-
roll of any Hollywood film factory today. For
at the moment any such star may find himself
elected to do a stooge act — precisely as hap-
pened to me in 'Morning Glory.'"

And that would seem to be that!

'It's funny, Molly — Peggy's always loved the ride before. But she's
been acting just this way for a whole week!"

"She's not hungry, either. I've found, Nan, that these symptoms mean
it's time for a laxative. Give Peggy Fletcher's Castoria tonight."

"We want to report that Peggy's fine today — a perfect lamb! We
both can't thank you enough for suggesting Fletcher's Castoria."

"A good laxative was all the child needed, Nan. And Fletcher's Castoria is
made especially for children. It's easy to take — tastes good, and hasn't any
of the strong drugs in it that make most grown-up laxatives so harsh. But
one word of caution — make sure that the signature Chas. H. Fletcher

is always on your carton!"

i^ST CASTORIA

The children's laxative

• from babyhood to 11 years •

Mother, whenever your child needs a laxative — for the relief of constipation, for
colic due to gas, for diarrhea due to improper diet, for sour stomach, flatulence, acid
stomach, and as the very first treatment for colds — give Chas. H. Fletcher's Castoria.

Casseroles

Sup

rente

Her casseroles in oven, Margaret Lindsay, pretty Warners
player, is ready to return for a chat with her guests

102

IF you are having guests for Sunday night supper and
want to be sure of the success of your meal, casseroles
will do the trick.

It is the ideal time of year for this sort of dish.
" Most housewives have their kitchen ovens turned on any-
way. So," says Margaret Lindsay, "why not just pop in
an appetizing casserole or two?"

They may be prepared in advance, leaving but a few
minutes work before serving.

And, remember, casserole dishes should come to the
table sizzling hot.

One of Margaret's favorite cold-weather dishes is plain,
old-fashioned beans.

Get the Lady Washington variety, and for a small
casserole, soak 1 cup of beans in water overnight. Next
morning, bring them to a boil with a little baking soda.
Pour this water off, and rinse in a colander with cold water.
Then place beans in a casserole with about }/i pound of salt
pork buried in the center. Pour over a mixture of 3^ cup
black molasses, Yi teaspoon mustard, 1 teaspoon salt,
mixed in a cup of water. Add enough boiling water to just
cover beans. Cover casserole tightly, and bake in slow
oven for four hours.

A variation may be achieved by adding several onions,
celery and green peppers, cut up.

Here is a macaroni au gratin recipe which Margaret says
is the best she has ever used.

Break macaroni in small pieces (or use the elbow variety)
and cook until tender in rapidly boiling salted water.
Drain. Place a layer of macaroni in casserole, then a layer
of sliced hard-boiled egg and grated American cheese.
Alternate macaroni, egg, and cheese, seasoning each layer
with pepper and paprika.

When casserole is filled, pour Y% cup of cream over con-
tents and cover with a final layer of cheese, and buttered
bread crumbs. Bake fifteen minutes, or until top layer is
nicely browned.

Chicken en casserole — Cut two small chickens in pieces
for serving. Season with salt and pepper and moisten with
melted butter. Bake in casserole dish in hot oven for
fifteen minutes. Then add Yl cup of carrots that have been
parboiled and fried in butter with a little onion, and 1 cup
of potato balls. Pour over \Y cups of brown sauce, and
again season to taste with salt and pepper. Cover tightly
and bake in moderate oven for twenty minutes longer, or
until chicken is tender.

Apple Custard — Scald 1 cup of milk and pour over Yl
cup wafer-thin slices of apple. Beat 1 egg, add 2 table-
spoons sugar and stir into cooled milk and apple mixture.
Add pinch of salt and Y teaspoon vanilla. Sprinkle top
with grapenuts and nutmeg and a little cinnamon. Bake
in slow oven about forty minutes. Use a casserole, of
course, but do not cover.

Another delicious apple dessert is made in the following
manner: Peel and slice four apples. Place in buttered
casserole and sprinkle with 1 teaspoon cinnamon, Y tea-
spoon nutmeg. Add 1 cup water, 1 teaspoon lemon juice.
Work together 1 cup sugar, % cup flour, and Y cup butter,
until it is crumbly. Spread these crumbs over the apples.
Bake, uncovered, in moderate oven for half an hour.

Photoplay Magazine for February, 1934

Fan Club
Happenings

CHICAGO movie fan clubs have planned
a "Penny Social" to be held at the
Hotel Sherman, January 25th. They
expect a number of gifts from stars they
sponsor.

These will be sold along with other gifts
donated by club members.

The funds derived will be used to further
this work.

A note received by the Photoplay Asso-
ciation of Movie Fan Clubs from the Buddy
Rogers Club, 53 Park Blvd., Malverne, New
York, of which Jacqueline Lee is president,
states that a one year membership will be
given free to the first fan who writes to her
from a foreign country.

Prospective fan club members may write to
any of the following clubs and receive a copy
of their latest bulletin:

Buddy Rogers Club, 53 Park Blvd., Mal-
verne, New York.

Ruth Roland Club, 4822 Meade Ave.,
Chicago, HI.

Billie Dove Club, 5737 South Artesian Ave..
Chicago, HI.

Johnny Downs Club, 3506 West 64th St.,
Chicago, 111.

Screen's Fan Club, 66 Milwaukee Ave.,
Bethel, Conn.

Movie Fan Friendship Club, 226 East Mill
St.. Staunton, 111.

Official Joan Crawford Fan Club, 973 Fox
St., Bronx, New York.

Bing Crosby Club, 109 Orchard Road,
Maplewood, N. J.

Norma Shearer Club, 1947 Broadway, New
York.

Along with the "Rambles," official publi-
cation of the Norma Shearer Club, came a
beautiful photograph of Jean Harlow. Hans
Faxdahl, president, always includes one or two
photographs with each issue.

Some dandy snapshots of Ruth Roland and
Lillian Conrad have been received. Miss Con-
rad is president of the Roland Club.

She also sent a list of snaps that she has
for sale of many prominent stars taken in
various cities.

A note from the Tri-C Club of Syracuse
states that Buddy Rogers was their guest at a
recent dinner-dance.

Fay E. Zinn, president of the Bing Crosby
Club, 109 Orchard Road, Maplewood, N. J.,
advises that the club plans a big reception
for Bing when he makes his contemplated
personal appearance in New York.

The Photoplay Association received many
bulletins last month, including Crosby Com-
ments, The Rogers Review, Bodil and Her
Fans, Rambles (Shearer Club), Among the
Stars (Screen Fan's Club), Peggy Shannon
News, Ruth's Rambles (Ruth Roland Club),
The Crawford Chatter, Nils News (Nils
Asther Club).

The Association will appreciate word from
any clubs that have obtained members through
the publicity received in Photoplay. Many
inquiries are received each day and we furnish
these prospects with the name and address of
the club they desire.

I03

There's a

BARGAIN IN BEAUTY

at your grocer's

Gloria Stuart, piquant Universal
Pictures star, has a perfect figure
for the season's slim-hipped silhou-
ette, as this delight-
ful town tailleur
clearly shows.

ALL-BRAN

What a thrill it is to slip into
these modern clothes — so flattering
to delicately moulded curves. To
know, as you wear them, that your
face is as lovely as your figure,
your eyes bright with health and
happiness !

To look well in the new styles,
many of us must reduce. In diet-
ing, be sure your menu contains
adequate "bulk" to prevent faulty
elimination. This condition may
endanger both health and com-
plexions. It may be corrected by
eating a delicious cereal.

Just ask your grocer for a pack-
age of Kellogg's All-Bran — rich
in "bulk" and vitamin B to aid
regular habits. All-Bran is also a
good source of iron for the blood.

The "bulk" in All-Bran is
much like that in leafy vegetables.
Two tablespoonfuls daily are
usually sufficient. How much pleas-
anter than taking patent medicines !

Kellogg's All-Bran is not fat-
tening. Sold by all grocers in the
red-and-green package. Made by
Kellogg in Battle Creek.

KEEP ON THE SUNNY SIDE OF LIFE

104

Photoplay Magazine for February, 1934

KALMS RELIEVE

"FUNCTIONAL" PAINS

QUICKLY

• It's needless to suffer physically and en-
dure mental anguish caused by the func-
tional pains of the period. For Kalms can
relieve those pains quickly. Headaches,
neuralgia, pains of neuritis, and muscular
aches and pains are promptly relieved by a
small dosage. Kalms were developed in the
Johnson & Johnson laboratories and contain
nothing a physician could not endorse for
the condition indicated. One tablet is enough
for most cases. Buy Kalms at your druggist's
in convenient purse-size boxes of 12 tablets.
Mail coupon below for free sample.

Johnson & Johnson, New Brunswick, N. J.
Please send me a FREE Sample of Kalms.

r P-3

The Lady Who Laughed at Hollywood

[ CONTINUED FROM PAGE 77

each summer the University Players served
dramatic fare for vacationers.

Look, Priscilla. Standing next to Charles
Leatherbee is his best friend, Henry Fonda.
Hank had just come on from Omaha where
he'd run a night club, and Charlie cast Peggy
and him as the leads in the season's first show.

There they are in costume for "The Devil
in the Cheese."

TT was during the run of the play that Peggy
-*-began to loosen up a little.

She had been sort of stiff at first, a little clan-
nish, moody and not disposed to mingle much
with the gay crowd of Harvard and Princeton
boys and Vassarand Smith girls who comprised
the company.

"Then she fell madly in love with Hank and
her whole character changed. She was like a
flower in bloom.

She'd never been particularly beautiful, but
she glowed that summer with something more
lovely than mere beauty.

"She used to tell us she'd never fallen in love
before. She'd never had a real affair. Didn't
think she'd ever have another. That first

ecstasy was too marvelous to ever try to re-
capture with anyone else. She was going to
marry Hank and together they would soar to
stardom."

Yes, that's Peggy all right. She was a little
stouter physically, a little more stolid mentally.
The same rough clothes she made famous in
Hollywood, too.

Cape Cod laughed at those dirty corduroy
slacks and plain pongee shirts long before be-
jeweled movie stars raised their mascara over a
colleague's costume.

Turn the page, Priscilla, the New York pic-
tures come next.

A boy who was in the cast of "The Modern
Virgin," her first big Broadway hit, pasted this
one in our imaginary album.

" She was still in love with Hank the winter
the critics gave her columns and the audiences
adulation.

"I used to see them walking around New
York, hatless, hand in hand, courting like two
kids in their 'teens, fresh and unspoiled.

"They didn't have much money, but to look
at them you'd think they owned the old
island."

Name —
Address-

7=$EP A/&GR

"He's the worst hen-pecked man in Hollywood —
he's a yes-man all day and a yes-ma'm all night"

Photoplay Magazine for February, 1934

They dined in pocket handkerchief gardens
behind Greenwich Village restaurants and the
viands seemed more savory than any on Park
Avenue.

They danced amid Don Dickerman's frolic-
some decorations in funny little cellars and en-
joyed it more than the Ritz.

They subwayed to Brooklyn at night to view
the panorama of New York's bizarre fairyland
of lights.

They took the ferry to Staten Island, relish-
ing it more than a Mediterranean cruise.

They rode on bus-tops up Riverside Drive
with keener thrills than many who race im-
ported motors along the Corniche.

They sat on park benches in the Square
watching the pigeons with more pleasure than
richer romantics find in grandstand boxes at
the Derby.

THEY adopted as their theme song that lilting
tune from the Garrick Gaieties about the
"girl and boy who turned Manhattan into an
isle of joy.'!

They teased each other playfully, laughing
over ridiculous jokes and phrases that had
meaning only for them.

They play-acted in the park, assuming char-
acters for hours — Hank a country hick and
Peggy a temptress from the Great White Way;
Hank a gangster and Peggy his faithful
moll.

They had a limerick competition, devising
absurd doggerel with which they regaled their
friends.

They ignored the past and the future and
were light-hearted and gay, living in the
ecstasy of the moment. Their eyes sparkled.
Their lips were merry. And people turned for
a second look at them and said:

"How lovely to see a couple so radiantly
happy!"

So they were married.

And then, as Peggy was pushing toward suc-
cess so intensely while Hank met with only
disinterested mumbles from managers, some-
thing happened.

No one knew just when the break came, for
few of their friends had been told of that early
morning elopement.

Only a handful of intimates even knew the
young couple were living together.

Then one night Hank came back to Charlie
Leatherbee's apartment, which he had shared,
and said:

"Peggy's going to get a divorce. Quietly, of
course, since so' few people knew we were mar-
ried anyway."

And since then, Margaret has been laughing
cynically.

Laughing at love. Laughing at Hollywood.

CHE doesn't believe much in either one of
^them now.

She found that the one didn't last in spite of
all her dreams and plans and hopes. She
doubts if the adoration which Hollywood has
heaped on her will prove even as durable as the
sentiment which led her in and out of a divorce
court.

Yes, Priscilla, that's her most recent photo-
graph.

It was taken the day she left for New York.
She'd just seen "Only Y'esterday," which the
press and the populace acclaimed so whole-
heartedly.

But to Peggy it was all so much bushwa, all
this ballyhoo, all this bother about trying to
make her a screen star.

"I don't think I'll be back," she said to
Johnny Johnston, Universal's publicity direc-
tor who had been one of her few confidants
during her Hollywood hegira.

And it was Johnny who snapped this last
picture in our album to date.

Across the empty page which follows he has
scribbled :

"She'll be back, all right. That girl has
something Hollywood wants!"

And sure enough she is back now, playing
the role of Bunnx in "Little Man, What
Now?"

She knows how to Accentuate Natural Loveliness
without risking that painted look

MEN don't want to kiss paint. Many a man
has said: "It spoils all the illusion if you
have to wipe your lips after kissing a girl."

So meet the girl men want to kiss. Her lips
are neither a coarsening streak of paint, nor a
faded, colorless line. Instead she has accen-
tuated the cupid's bow of her mouth with a
lipstick that gives the healthy, youthful glow
that men admire without that painted look.
Only Tangee could do this for only Tangee
incorporates the magic color-change principle
that makes it intensify natural coloring.

LOOKS ORANGE-ACTS ROSE

In the stick Tangee looks orange. But put it on
and notice how it changes on your lips to the
one shade of rose most becoming to you. No
smearing, and no red spots on teeth or hand-
kerchiefs when you use Tangee. Tangee be-
comes a very part of you, instead of a greasy
coating, hence is longer-lasting than ordinary
"paint" lipsticks.

Moreover, Tangee is made with a special
cream base so that it soothes and softens lips
while it adds to their allure. No drying, crack-
ing or chapping of lips when you use Tangee.

Don't be switched!

Insist upon Tangee. —
And patronize the
store that gives you
what you ask for.

Get Tangee today— 39c and $1.10 sizes. Also
in Theatrical, a deeper shade for professional
use. Or send 10c with coupon below for 4-Piece
Miracle Make-Up Kit containing Tangee Lip-
stick, Rouge Compact, Creme Rouge and Face
Powder.

Cheeks must not look painted either. So use Tangee
Rouge. Gives you the same natural color as the Lip-
stick. Now in new refillable gun-metal case. Buy Tangee
Refills and save money.

UNTOUCHED-Lipsleft

untouched are apt to
have a faded look . . make
the face seem older.

PAINTED -Don't risk
that painted look. It's
coarsening and men
don't like it.

TANGEE — Intensifies

natural color, restores
youthful appeal, ends
that painted look.

_ -,

KIT-10d |

P-24

• 4-PIECE MIRACLE MAKE-UP

THE GEORGE W.LUFT COMPANY, Inc.
417 Fifth Avenue, New York, N. Y.

Rush Miracle Make-Up Kit containing miniature Tangee Lip-
stick, Rouge Compact, Creme Rouge and Face Powder.
Enclosed find II)'- (stamps or coin1.

Check

Shade

Same —
A ddre&s—
City

FLESH "]rACHI:l [~] LIGHT RACHEL

. Stale-

ioO

Photoplay Magazine for February, 1934

FOR ABSOLUTE

SAFETY

in darkening your lashes
use genuine, harmless

(y%c*2£$e£%%?z0

NON-SMARTING, tear-
proof Maybelline is NOT
a DYE, but a pure and highly
refined mascara for instantly
darkening and beautifying
the eyelashes.

For over sixteen years mil-
lions of women have used
Maybelline mascara with
perfect safety and most grati-
fying results.

Pale scanty lashes are in-
stantly transformed into the
appearance of long, dark, lux-
uriant fringe with Maybelline
mascara — by far the largest
selling eyelash darkener.

Have lovely lashes safely
and simply with Maybelline
mascara. Black for Brunettes,
Brown for Blondes. 75^.

The perfect |£ "if/ Mascara

SOLD BY REPUTABLE
TOILET GOODS DEALERS
THROUGHOUT THE WORLD

The Shadow Stage

The National Guide to Motion Pictures

(REG. U. S. PAT. OFF.)

CONTINUED FROM PAGE 59

FRONTIER MARSHAL— Fox

TUTERE is an unusual Western. Perhaps
•*- -^-that's why it's so good. George O'Brien is
great as the "dude" marshal who cleans up the
wild and woolly town of Tombstone. The
thrills, suspense and action are logical and con-
vincing. You'll also like Ruth Gillette's
"Western Mae West," and Alan Edwards'
polished bad man. Don't let the "Western"
tag stop you. -ee it.

GIRL WITHOUT A ROOM—
Paramount

A N amusing concoction for your lighter
■**-mood, which kids the pseudo-art racket in
Paris. Charles Farrell, a backward Tennessee
artist, wins a scholarship, which takes him to
Paris to study. After a quarrel with Mar-
guerite Churchill, the real heart interest, he
gets involved with a Russian "baby" (Grace
Bradley). But it all comes out right in the end
when Charlie Ruggles brings the lovers to-
gether again. Comedy honors go to Ruggles.

ADVICE TO THE LOVELORN—
20th Century-United Artists

A S a "MissLonelyhearts" column conductor
■**-against his will, Lee Tracy wriggles in and
out of more mischief! But he manages to win
Sally Blane, who disapproves of his work, in
the end. Although Lee gives his usual spirited
performance, he overacts a bit, which keeps
the film beneath his standard. Isabel Jewell,
Sterling Holloway and C. Henry Gordon han-
dle their roles ably.

THE WOMEN IN HIS LIFE—M-G-M

AT 7HEN a famous lawyer, preparing to de-
W fend a man for murder, discovers that the
victim was the woman he loved, the situation
becomes very complicated. However, in spite
of being a little too melodramatic, it makes an
exciting story that holds your interest through-
out. Otto Kruger, as the lawyer, does a splen-
did job in a difficult role. Una Merkel and
Roscoe Karns are excellent comedy relief, and
Ben Lyon provides young-love interest.

EAST OF FIFTH AVENUE— Columbia

A FAIR melodrama depicting life in a cheap
New York rooming house, where ten
people, living under the same roof, find them-
selves hating, loving, cheating and depending
upon each other. The entire cast is good, in-
cluding Dorothy Tree, Mary Carlisle, Walter
Connolly and Wallace Ford.

SMOKY— Fox

THE best equine epic made so far. The ab-
sorbingly interesting saga of Will James'
wild colt, "Smoky," the glory and the tragedy
of his life from colthood to a pathetic junk-
wagon nag. The gorgeous Arizona scenery
rates second to the marvelous performance by
Smoky himself. Victor Jcry is great as the
tender-hearted bronco-buster. Will appeal to
children and adults alike.

THE THUNDERING HERD—
Paramount

AN exciting Zane Grey Western, with such
old-time actors as Harry Carey, Monte
Blue, Noah Beery and Raymond Hatton lend-
ing a note of reality to a well-directed tale.

About the historic rush for buffalo hides, and
the Indian trading posts. Randolph Scott and
Judith Allen give the film a romantic touch.

HE COULDN'T TAKE IT— Monogram

A COMEDY which presents the extremely
■**■ personable Ray Walker as a ready-fisted
process-server. He and pal George E. Stone
mix up with gangsters for a series of embar-
rassing complications, but Ray manages to
rescue his sweetheart (Virginia Cherrill) from
the toils of her oily attorney-employer. Some
very good humor and sufficient story interest.

AS HUSBANDS GO— Fox

TF you're in love with your wife, don't let her
-'-go to Paris without you. And if the man fol-
lows her home, take him out fishing and wind
up with a good binge. That's what Warner
Baxter did, and it all worked out fine. Helen
Vinson is lovely as the deluded wife. The un-
sober scene between Warner and G. P. Hunt-
ley, Jr. is convincing. Mediocre entertainment.

HORSE PLAY— Universal

TF you like Slim Summerville, you'll probably
■*-go for this. As cowboys, he and Andy Devine
romp through several amusing situations while
pursuing pretty Leila Hyams. With a million
dollars paid for his ranch because of ore de-
posits, Slim and Andy go to England just in
time to save Leila from jewel thieves. Fine
supporting cast.

HOLD THE PRESS— Columbia

•"TIM McCOY deserts Westerns for this film
■*- and becomes a newspaper man. As a crack
reporter, he sets out to expose the city's cor-
rupt parole board. He runs into a nest of rack-
eteers who try to bump him off. But after a
series of narrow escapes and exciting chases,
right prevails and Tim gets his men. Shirley
Grey plays Tim's girl friend. Good suspense.

THE WOMAN WHO DARED—
Wm. Berke Prod.

CLAUDIA DELL, as president of a textile
plant, defies racketeers who threaten bomb-
ing. She falls for newspaper reporter Monroe
Owsley, assigned to cover the story. Together
they outwit the gangsters. Story is just fair.
Entire cast good.

EASY MILLIONS— Freuler Film

ONE little white lie and "Skeets" Gallagher
finds himself wading far out in deep and
troubled waters that get deeper by the minute.
Engaged to three girls at one time, broke and
despondent, he finally emerges from his sea of
trouble and all is well. Johnny Arthur, as the
professorish roommate, is fun. Bert Roach,
Noah Beery and Dorothy Burgess add to the
mix-up. Amusing and sophisticated.

HER SPLENDID FOLLY—
Hollywood Pictures

A FAIRLY good idea gone wrong and pro-
duced shabbily must relegate this to the
stay-away list. Lilian Bond plays a perfect
double for a movie star whose accidental death
forces her to play star to protect producer
Alexander Carr's film investment. This results
in trouble for everybody, but you really won't
care. Poor photography and general ama-
teurish treatment.

Photoplay Magazine for February, 1934

BIG TIME OR BUST— Tower Prod.

REGIS TOOMEY, as the small time hus-
band with the big time wife, and Walter
Byron, as the insidious millionaire whose de-
signs are well under control, do the best they
can in a story with a well-worn plot. However,
there's a singing voice in the film that will make
you forget the annoying manner in which the
menace fails to materialize.

EAT 'EM ALIVE— Real Life Pictures

PLENTY of grim thrills in this nature drama
which is mostly about snakes and gila mon-
sters in mortal combat, with the white pelicans
of Death Valley providing comedy relief. Al-
though elevating in the particular subject, it
may prove too strong for women and children.
Excellent photography.

THE BIG SHAKEDOWN—
First National

GLORIFYING the corner drug store seems
to be the mission of this uninteresting pic-
ture. Ex-beer baron Ricardo Cortez forces pill-
roller Charlie Farrell into faking drugs for his
new cut-rate racket. But the fake dope kills
Charlie's baby, and he retaliates by dropping
Ricardo into a vat of acid. Everybody tries
hard, but the story doesn't ring true. Bette
Davis is Charlie's wife.

WINE, WOMEN AND SONG—
Monogram

T\ 7HICH tells, with no new slants, of the
** love of a mother, Lilyan Tashman, for her
daughter, Marjorie Moore. Lilyan, a burlesque
queen, initiates her daughter, fresh from a con-
vent, into the show business. The girl falls in
love with Matty Kemp, dance director, at the
same time becoming prey to Lew Cody, power-
ful operator. Lilyan finally poisons herself and
Lew to insure Marjorie's happiness.

FAREWELL TO LOVE—
Associated Sound Film

'T'HIS picture has but two things to recom-
■*- mend it: the excellent singing of the Polish
tenor, Jan Kiepura, and the pictorial beauty of
the scenes in Italy. Heather Angel, as an
Italian peasant, does her best with a colorless
role. The film will please only music lovers who
enjoy hearing Italian opera airs.

The Power Behind the
Hepburn Throne

[ CONTINUED FROM PAGE 31 ]

success of the exotic actress, in back of the
madcap, prankish personality she had pre-
sented to the film colony — had stood a shrewd
show-woman, counselling the red-headed
eccentric at every turn, inventing fresh ways of
drawing attention to her, advising her at each
step along the treacherous road to stardom.

Laura Harding is the name of the mild-man-
nered miss who has acted as the secret stage
manager of Katharine Hepburn's triumphs,
and if Hollywood has come to regard the
actress as a woman of mystery, even less is
* generally known about this Manhattan social-
ite who, it now transpires, has played such an
important part in guiding her friend's career.

Daughter of J. Horace Harding, chairman of
the board of the American Railway Express
Company and the senior partner in the banking
firm of Charles D. Barney and Company,
Laura Harding became interested in the
theater soon after her debut. She understudied
Lynn Fontanne for six months in "Elizabeth
the Queen," had a small part in "Thunder in

I07

said .O * •

oylvia

to Sidney Fox

Sylvia of Hollywood

World's foremost authority on
the care of the feminine figure.

Hear SYLVIA in person — telling stories of Hollywood, giving
you the same beauty advice she gives the movie stars. — NBC
Red Network— Coast to Coast— Tuesdays, 10:30 P.M., E.S.T.

""VT'OU can't be really lovely when you're
J- over-tired, or under-nourished, over-
weight, or under-weight," Sylvia says.
"The movie stars know that. They know,
too, that when they follow my advice they
can improve their whole appearance just by
eating foods they actually enjoy and exercis-
ing moderately. So can you! Do you doubt that?

Well — let me send you, absolutely FREE, my Per-
sonal Consultation Chart* and 32-page booklet of
the very same diets and exercises I used on the
movie stars! They'll show you how easy the path
of beauty can be, Sylvia's way.

"One of the first steps toward beauty is simply this:
EAT RY-KRISP WITH EVERY MEAL! Easy,
isn't it? Especially if you already know how deli-
cious these crunchy whole rye wafers are. RY-KRISP
satisfies hunger safely and actually helps your figure
instead of hindering it.

"If you honestly want to be lovelier, do two things for
me. Send for my book and Consultation Chart, im-
mediately. And begin today to eat Ry-Krisp — the
filling but not fattening whole rye wafers."
t * *

Ry-Krisp whole rye wafers are more than just a
cracker! They're a delicious, wholesome food that
grown-ups and children, too, enjoy — because they
taste so good! Made simply of flaked whole rye,
water and salt — they're safe, "regulating," and ex-
cellent for the teeth! For better health, better meals
— and a better figure, see to it that you, and your
family, too, have Ry-Krisp every day! You'll be
amazed to find how good these crispy wafers taste
with breakfast, lunch and dinner!

Your grocer has Ry-Krisp Wafers in red
and white checkerboard packages! Save
the package top* — it's very valuable!

Sidney Fox,

popular film star, slender,

youthful, graceful.

WT 00 OUR PAST

iylvia's consultation chart — FREE! use this coupon

Madam Sylvia, R a Is ton Purina Company,

624 Checkerboard Square, St. Louis, Mo.

I enclose one box top from a package of RyKrisp. Please send me your

Consultation Chart — and your 32-page booklet of diets, and personally

illustrated exercises — the same that you use on the movie stars.

(Offer good only in U. S. A. and Canada.)

Name

Addr

io8

Photoplay Magazine for February, 1934

HEW

ui?o>

HEN you visit New York
enjoy the comforts of an ideal
home and still be in the heart of
the Motion Picture Art Centre.

Parlor with Bedroom and Bath
SCOO PER DAy FOR

9 — ONE OR TWO
$125.00 per month

Largest Single

Boom In $3 CA

New York ",-'/w

FEB DAY

for this Beautiful 2-Room Suite.
3-Room Suites in proportion.

All rooms equipped with combi-
nation tub and shower bath and
running ice water. Ideal loca-
tion— adjacent to shopping, busi-
ness and theatre districts.

Swimming Pool and Gymnasium
FREE to Guests.

Write for details. Telegraph reservations
(Collect)

ENJOY NEW YORK'S

COCOANUT GROVE

56th St. at 7th Ave.
New York City

the Air," and then left the stage for a season to
coach with Frances Robinson-Duff, New
York's best known dramatic and voice tutor.

It was in this teacher's studio that Laura
met Katharine Hepburn, then struggling
rather vainly for Broadway recognition, and a
bright friendship was begun which carried
Laura' to Hollywood as mentor and manager.

For it is now believed by those who know
them best that Katharine Hepburn's chief
reason for accepting a movie bid was to achieve
an acclaim that would rebound to Broadway
and insure a theatrical triumph. Fascinated as
she may be by pictures, it is the stage which is
the chief interest in Hepburn's life, and it was
Laura Harding's vision which suggested that
fame in Hollywood would bring fortune on
Broadway.

TT was during the run of "The Warrior's
■^-Husband," in which Katharine Hepburn first
won favor on the stage, that Laura Harding
definitely abandoned her own stage ambitions
to devote her attention to skyrocketing Kate.
And in the offer of an RKO-Radio contract,
which followed Hepburn's hit in "The War-
rior's Husband," the two girls saw their chance
to campaign for glory.

For it has been a campaign.

From the first day the pair stepped off the
train in Hollywood, hired a swanky Hispano-
Suiza and started the town talking about their
costumes and customs, Laura Harding has
been in a large measure responsible for the
breath-taking build-up Katharine Hepburn has
enjoyed.

She has passed on the proofs of all publicity
pictures.

She has suggested the stunts which have
made Hepburn "copy."

She has helped design the costumes which
have given the actress such glamour in her
pictures.

She has sat in on story conferences, studio
bickers and been a constant companion and
coach in the long hours of rehearsals before
each production.

Best of all, Laura Harding has served to
bring Katharine's own well-bred background
into the superficial atmosphere of the movie
town.

Katharine Hepburn would never have "gone
Hollywood" in any event, but the sane balance
of Laura Harding's friendship has helped her
maintain the stunning individuality she
brought West.

Particularly has Laura Harding's inherent
business sense aided her friend.

The writer spent the afternoon with them
the day Kate signed two contracts that were
extremely important to her picture career. One
was with the studio, the other with her agent.

In both cases, Laura supplied the business
acumen and Kate the fiery eloquence which
combined to win for the budding star every
disputed point.

As a matter of fact, Katharine Hepburn's
contract with RKO-Radio was almost cut
short at the conclusion of her very first film,
"A Bill of Divorcement," in which she sky-
rocketted so suddenly to screen fame.

KATE was leaving that night for a quick trip
to Vienna. In a few hours she would be flying
back to New York and at the moment she was
waiting for the studio to make out her final
check.

There had been some argument as to the
exact amount, and Katharine and Laura retired
from the treasurer's office for a cigarette and a
confab in the sun.

Their sleek Hispano-Suiza was parked just
under the window of David O. Selznick, then
production boss of RKO-Radio Pictures. I
saw Laura glance up at the open window and
nudge Kate.

The actress' eye followed her companion's
and she gave an understanding chuckle.

Suddenly, the quiet of the summer afternoon
was rent with a shriek.

"I don't give a good so-and-so. I'm not
going to let them get away with it. I worked

an extra quarter of a day and I want that
quarter day's check.

"I don't care what fifteen lawyers or seven-
teen accountants say. I'm not so crazy to stay
in pictures anyway."

With a wink at Laura, answered by an en-
couraging smile, Kate climbed up on the
tonneau of the car, edging nearer to the open
window.

"And if I don't get that quarter day's check
they can tear up their piffling contract and let
the bits blow straight to the devil!"

The girl's throaty voice, pitched to an eager
excited note, could be heard all over the quad-
rangle of the front lot. There was a stir behind
Selznick's window curtains and a moment
later the telephone in the treasurer's office
rang.

Kate and Laura exchanged knowing looks,
finished their cigarettes and reentered the
building.

When they came out a few minutes later,
they were beaming.

"Did you get it?" I asked.

"Don't be silly," cried Hepburn. "Of
course we did!"

Just as she had given moral support to the
star in her wrangles with studio executives over
stories, costumes, casts and contractural differ-
ences, so Laura has shared with Kate her two
most thrilling experiences in Hollywood.

"DOTH adventures came dangerously near
■'-'being tragic. The first was a wild midnight
cruise in a coast fog in which they were lost for
eight hours. The second was a narrow escape
from attack at the hands of hoodlums.

It was their first winter in California that
Kate and Laura accepted an invitation from
Christian Rub, then touring with the road
company of " Grand Hotel," to join a yachting
party.

With Rub and another man, the girls
motored down to Long Beach and boarded a
small boat. The four amateur sailors had
crossed to Catalina and were on their way
home when a terrific gale came up and blew
them off their course and out to sea.

"Night fell before we could get straight on
our course," Laura recalls, "and shortly after-
wards a dense fog added to our predicament.

"Soon we had completely lost our bearings.
None of us knew much about sailing and for
eight hours we drifted in the darkness, soaking
wet, chilled to the bone and all of us fearful
that we would never come out of it alive.

"Finally about four o'clock in the morning
we saw a necklace of lights ahead of us, shining
faintly through the mist. We pulled down the
sail and slowly sculled our way toward the
lights, wondering where we were, what port we
were nearing.

" When we finally reached shore we found we
were at the very dock in Long Beach from
which we had set sail!"

It was Katharine's tomboy zest for the ad-
venturous which nearly proved disastrous again
a few weeks before she left for New York this
last time. With Laura, Katharine decided one
afternoon to explore a particularly wild canyon
in back of their home at Beverly Hills.

TTHE girls, dressed in short walking skirts,
•*- were climbing one of the ridges of the canyon
when two shots were fired in the gulley below
them and two bullets cut the underbrush a few
feet away from them.

"Watch where you're firing!" shouted Kath-
arine and turned to see three men running up
the side of the hill toward the girls.

"That was just to show you we were here, to
stop you so we could get acquainted," guffawed
one of the men.

The girls took to their heels, but for several
hundred yards were in plain sight of the
tramps, who kept firing after them.

"The bullets kept coming within a few feet
of us and I thought we'd be hit any moment,"
recounted Laura, "but I have never seen any-
one so courageous as Kate. Finally after
reaching the top of the ridge we circled a mile
or two and got back home safely."

Photoplay Magazine for February, 1934

A single policeman, sent out to investigate
when the girls reported the incident, was
routed by the vagrants and when he returned
with aid they had gone.

When Katharine Hepburn left for New York
and rehearsals in the new Jed Harris stage pro-
duction, "The Lake," Laura remained in

Hollywood to oversee the closing of their house,
pack up odds and ends and attend to a dozen
last minute matters.

But Laura followed almost immediately, and
there is little doubt that while Katharine Hep-
burn works to perfect her lines, Laura Harding
is near at hand — coaching, suggesting, helping.

Back of the West Front

[ CONTINUED FROM PAGE 60

and the recent "I'm No Angel," has no degree
from a college. In fact, she never even saw a
high school diploma. But she has a highly
developed instinct for the theater. She has
something more valuable to the artist than a
university education — real knowledge of life
and human understanding.

These are the attributes which will keep the
Mae West hysteria at a high pitch long after
the public has forgotten that curves are desir-
able and long after her title, "Queen of Sex,"
has been shelved for one of greater dignity.
I can see Miss West playing Madame Sans Gene
and Nell Gwyn. Both of these historically
famous ladies have been portrayed in the
theater by actresses of the highest rank, but
under the West banner I believe they would
receive an individual touch which would stamp
Mae as an artist of standing.

HOWEVER, during all these years that I've
been following the West career, I've learned
other things than what one observes before the
footlights. A great deal of the lady's character
make-up. And that is comprised of a very
complex, puzzling group of traits.

Her press-agents have been presenting the
star with a "Diamond Lil" frontage and a
lily-white background. Which is — and is not
— quite true.

Born in Greenpoint, the Bowery section of
Brooklyn, of a father who earned his living
from the prize-fighter's ring, she was cast on
her own at an age when most girls are still
sheltered by their parents' wings. And what
she saw of life she has interpreted on stage and
screen.

Before that 1912 engagement as a single in
vaudeville, Mae West had been a child actress,
then a chorus girl in a burlesque show, the
heavy in an acrobatic act, and a featured
player in a Ziegfeld show. Quite a while before
Gilda Gray claimed the shimmy as a dance of
her origination, Mae West had introduced it
into her vaudeville act as the "she-waddle."

Mae West is like the Royal Mounted Police
— she always gets her man. In her pictures
I believe we find her so amusing because she
does the things we women would like to do —
but do not dare! Just as in every man there
is a bit of the feminine, so in every woman
tuere is a bit of the masculine. Man is sup-
posed to be the hunter — the one who does the
chasing, but every woman at times would like
to have a hand in running game to cover.
Tradition, conventions of polite society, de-
mand that woman sit back and wait for the
man to make the approach. And every
woman sitting in her audience also would like
to say to the man who apppeals to her, "You
can be had," and then go after him. And
despite all the philosophy to the contrary, and
because of the physical evidence from the real
stag draw which Mae West's pictures win,
the men are not altogether averse to a little
cooperation from the female in courtship.

TN an interview, before her name was well-
-*-known even along the Broadway Rialto and
long before Hollywood embraced her, she said
to me, "I think I'll go to Paris and get myself
a king — they can be had." Of course, Mae
was only joking when she said that. But I
believe that if Mae really did want a king, he
wouldn't have a chance.
It is characteristic of Mae to wisecrack a

tragic or sentimental situation. In explaining
how she gets some of her unmoral characters
of the screen past the censors, she said to me,
"I always use gags and wisecracks to get away
from the sentimental. You get a laugh out of
the audience and they forget to be sympa-
thetic. F'rinstance," she exemplified, "I'm a
dame tryin' to steal another woman's hus-
band, and she comes to me weepin' and
remonstratin' and I says to her, 'Aw, go on!
You've had him long enough!' "

T LAUGHED and she turned triumphantly.
-*■" You see, I get a laugh and then where's all
the tragedy? It's just a gag."

Another highlight of the star's personality
is her generosity and loyalty. The Clarence
Morgenstern who booked her in the Family
Theater in her obscure days was the man she
sought to produce her play, " Sex," which ran
for ten months on upper Broadway. After,
the play was banned by the censors, and for
the production Miss West and her business
associates found themselves in the toils of the
law. Morgenstern deserted the West produc-
tions for plays less likely to stir the ire of the
law, but, alas, they proved to be less lucrative.

When the glittering marquee over the Para-
mount Theater on Broadway announced in
electric letters four feet high: "Mae West on
Stage and Screen," the pedestrian traffic before
that theater became a tangled snarl of West
admirers. You might have thought that the
theater was giving away gold bricks to alleviate
the depression — but it was only a city gone
mad over a new face in the cinema.

In the midst of this adulation, physically
weary from the strain of four personal appear-
ances a day, Mae did not forget that friend of
her early career. "What's become of Morgy?"
she asked. No one knew where he could be
found. He no longer had an office in the
theatrical belt. The depression had eliminated
him as a Broadway producer. But Mae knew
where he lived. The humble home in City
Island, a suburb of New York, had no tele-
phone. So one night after her last perform-
ance, she pressed through the waiting throng
of admirers, denying eager reporters an audi-
ence, and stepping into her car directed the
chauffeur to drive to City Island.

TT was through Mae's generosity that
-'-Morgenstern made a comeback to his old
haunts.

Mr. Morgenstern, in speaking of this epi-
sode, told me that no matter how much Mae
earns — she passes it out to those less fortunate.
Her Broadway production of "Diamond Lil"
netted her almost half a million dollars in
royalties and in salary, but due to her large
gifts and loans to friends, at the end of the run
she was broke. So much so, that she accepted
a comparatively small sum for her role in
"Night After Night."

Clarence Morgenstern related to me another
incident which is indicative of the actress's
loyalty. During the run of "Sex," he found
it necessary to discharge an electrician of the
play's crew. Mae, on hearing of the man's dis-
missal, would not go on unless the man was
reinstated. And she held the curtain fifteen
minutes until her demands were met.

Harold Spielberg, the lawyer who defended
her during her trial for participation in the
censored play, "Sex," said that her chief con-

KC3DL

MILDLY MENTHOLATED
CIGARETTES— CORK-TIPPED

f™04

KOOLS have taken the dry throat out of
steady smoking and put more real cigarette
pleasure into your life. They're mildly men-
tholated. The smoke is cooler — decidedly re-
freshing. But the mild menthol in KOOLS
doesn't interfere with the full flavor of the
fine tobaccos. The cork tips protect lips.
Save the valuable B 8b W coupons packed
with KOOLS for Congress Quality gilt-edged
U. S. Playing Cards and other attractive
premiums. (Offer good in U. S. A. only.)

PLAYING CARDS — FREE

Brown L. Williamson Tobacco Corp., Louisville, Ky.

I IO

Photoplay Magazine for February, 1934

*Jiadt

YOUR WAIST AND HIPS
J INCHES IN ^0 DAYI

"4 k

ave

REDUCED MY HIPS

9 INCHES WITH THE
PERFOLASTIC GIRDLE'

. . . writes Miss Healy

"It massages

like magic". . . writes Miss
Kay Carroll. "The fat seems
to have melted away"
— writes Mrs. McSorley.

• So many of our customers
are delighted with the won-
derful results obtained with
this Perforated Rubber Re-
ducing Girdle that we want
you to try it for 10 days at
our expense!

REDUCE YOUR WAIST
AND HIPS 3 INCHES IN

10 DAYS OR IT WILL
COST YOU NOTHING-

• Worn next to the body
with perfect safety, the tiny
perforations permit the
skin to breathe as its gentle
massage-like action re-
duces flabby, disfiguring fat
with every movement!

TEST ...the

PERFOLASTIC GIRDLE
. . . at our expense!

SEND FOR FREE IO DAY TRIAL OFFER

PERFOLASTIC, Inc.

Dept. 912 . 41 Cast 42nd Street, New York, N. Y

Without obligation send FREE Booklet, sample of
rubber and details of 10-Day FREE Trial Offer I

Name.

Address.

Use Coupon or Send Penny Post-card.

TheBest GRAY HAIR

REMEDY IS MADE

QT HDMF You can now make

«i nwrnc at home a better

gray hair remedy than you can buy, by
following this simple recipe: To half
pint of water add one ounce bay rum, a
small box of Barbo Compound and
one-fourth ounce of glycerine. Any
druggist can put this up oryou can mix
it yourself at very little cost. Apply
to the hair twice a week until the
desired shade is obtained.

Barbo imparts color to streaked,
faded or gray hair, makes it soft and
glossy and takes years off your looks.
It will not color the scalp, is not sticky
or greasy and does not rub off.

BE A JAZZ MUSIC MASTER

PLAY PIANO BY EAR

Play popular song hita perfectly. Hum
the tune, play it by ear. No teacher —

self-instruction No tedious dine-d<>n?
daily practice — just 20 brief, entertaining
leesons, easily mastered .

At Home in Your Spare Time

Send for FREE BOOK. Learn many
styles of bass and syncopation — trick
endings. If 10c (coin or stamps) » en-
closed, you also receive » onderfiil booklet
"Hou- to Entertain at Piano" — and many

flKtfene^nwsrtre

I Graduates: Lee lracy, Pesgy Shannon. Fr.d Astaire, Una Merkel, Kit*
Joliann. Mary Pickford. etc. Drama. Dance, Speech. Mimical Comedy.
Opera. Personal Development, Culture. Stock Theatre Traimnl appear-
ances while learning For catalog, write Sec'v ERWIN, 66 West
85th St., N. Y.

Make Money at Home /,

Experience unnecessary, we tell you how. B*
demand I Write for Mushroom Book free.
American Mushroom Industries, Ltd.
341 Woolnough Bldg., Toronto, Ont

cern during the ordeal of the trial was not for
herself but for her cast. Barry O'Neill, the
leading man of the play, is an Englishman of
good family background. Spielberg, in speak-
ing of this, said Miss West pleaded with him,
"Get Barry out of this — I don't care what
happens to me."

O'Neill and the other members of the cast
who were on trial escaped a jail sentence
through Mae's efforts. And even when she
was behind prison bars — for a brief time — she
did not spend her time in self-pity, but was
solicitous of the welfare of her fellow prisoners.
The only time she sent for her lawyer during
the serving of this unjust sentence was when
she paid him to defend a young mother who

was waiting trial on a petty larceny charge.
Not only did she pay attorney's fees for the
woman, but she saw that her family were
provided for during her imprisonment.

Someone has said that no charm is lasting
unless one is considerate and kind to other
people — for charm is a spiritual quality that
radiates itself through a physical medium.
"Spiritual and charming" may seem strange
adjectives to apply to the Diamond Lil of
stage and screen, but when you analyze Mae
West's character, they fit the "Queen of Sex"
like the proverbial glove — for she is kind and
considerate, even though she attempts to wise-
crack you out of thinking she is sentimental
and sympathetic.

Two "Toughs" from the Chorus

[ CONTINUED FROM PAGE 69 ]

our theater and got the job vacant in our
company. I taught him the dance steps we
were doing.

"Would you believe it that he's a limber
son-of-a-gun? He doesn't unbend much in
pictures, but how he can stretch those long
legs of his! Has slack ligaments, or something.
He could do splits at the crack of a drum-
stick."

Jimmy says he envied this double-jointed-
ness of Allen because he was muscle-bound
himself. They got an apartment with two
other men in the chorus for the remaining two
weeks of the Boston run.

"We were financially sad," Jimmy explains.
Their salary was thirty dollars a week, but
they had to send practically all of that back
to New York to cover debts. One day the
now-noted pair were down to fifteen cents.
They flung it down at a one-arm lunch stand
for coffee and a doughnut.

"That was the day Jimmy saw a beautiful
girl, who was also in the 'Pitter Patter'
chorus, pass by," Allen tattle-tales. "He said
to me, 'Gee, I'm crazy about that kid!'"
Her name was Billie Vernon and she became
Jimmy's missus.

"Well," snorts Mr. Cagney, "I recollect
a stunning gal in that show whom Allen kind
of craved. One night she stopped him back-
stage, and gave him to understand that he
could come up any time. He was so scared
at her audacity that he ran whenever he
thought she was about to speak to him!"

When the theater was deserted, in the day-

time, Jimmy used to go in and practice
dancing by himself. The intricate effects were
a natural for Allen, but not for the red-head.
Eventually, however, Jimmy turned into the
better prancer of the two. When the show
closed in New York, where they went after
Boston, he was rewarded with a specialty
dance solo on the lengthy road tour.

Both of them express amazement at finding
themselves actors.

Jenkins' parents were well-known theatrical
people, having headlined in musicals, but the
senior Cagneys were total strangers to the
smell of grease-paint. Jimmy's papa ran a
saloon on the East Side.

"I trouped as a kid with my folks," Allen
said to me, "and I loathed the stage. I
wanted to be a marine engineer. Studied
along that line for two years, and worked in a
ship yard for a year and a half for practical
experience.

"Then, like lightning, at nineteen I got the
acting bug. The quickest way onto a stage
seemed to be the chorus. My folks didn't
think much of me for debuting that way.
Two years of it convinced me I wasn't pro-
gressing, so I went to the American Academy
of Dramatic Arts in New York, where my
father had once been an instructor."

Graduating from the school which has
trained many of our finest performers, his
first regular job was a bit in the Broadway
production of "Secrets." A succession of
good parts in outstanding dramas followed.
When Warners decided to film "Blessed

1 J f ^'

' * f — •

And don't drop any stitches! There's nothing like a crochet needle for
keeping girls contented on the set. These four, who worked with Paul Muni
in his latest, "Hi, Nelile," made good use of their time between scenes

Photoplay Magazine for February, 1934

III

Event," they imported Allen to recreate his
original role in it.

Jimmy's luck was slower in arriving. When
"Pitter Patter" ended, he and Billie Vernon,
who'd murmured "I do," tackled vaudeville.
They made precarious sums varying from
$12.50 a week up, during the five years they
toured the tank towns. Jimmy finally scored
as a roughneck in a New York play, and thus
found his forte. Three years ago Warners
bought "Penny Arcade," in w-hich Jimmy
and Joan Blondell were playing, and brought
them to Hollywood to do it on celluloid.

The only argument these two regulars have
ever had was over a shirt. That was when the
chorus wardrobe chief sang out, "There's one
size fifteen left!" Both made a dive for the
clean shirt. A knock-down, drag-out scrap,
friendly-like, ensued, ending by Cagney
tossing Jenkins into the farthest corner of
their dressing-room. "I guess that was due to
his constant smoking," Jimmy expounds. "I
never puffed."

A SIDE from performing, Jimmy was "dress-
■* *-er" to the star. It was his duty to be com-
pletely responsible for that gentleman's attire
and he came to feel like a one-man cleaning
establishment.

Cagney and Jenkins remained friends, al-
though they never worked together again until
Warners cast them in the same pictures.
And each swears that the other has been
unaffected by Hollywood.

"Jimmy's still a great guy," Allen pro-
fesses. "Maybe he's mellowed a trifle, but
he hasn't acquired the usual stellar swell-head.
He always enjoyed fine music and loved to
read. Now he can go to all the concerts he
wants and buy books by the dozens." Not
being addicted to Beverly society, Jimmy and
his Billie have plenty of time for these quiet
forms of recreation.

"The chances are a hundred-to-one against
a successful Hollywood marriage," AUen con-
tended with the cynical expression on his face
of the show-me bachelor. "The trouble is
that people who've never had big money are
showered with it. They go wild. Or meet a
third party who's anxious to chisel in."

And yet shortly after making this statement,
Allen stepped happily to the altar with Mary
Landee. So, after all, he followed the example
of the Cagneys happy union.

The Cagney-Jenkins' mutual hobby is
boating. Every summer when Jimmy came
into New York from a season on the road,
they used to hang around the shipyards,
examining the latest models. They frequently
chugged up the Hudson in Allen's outboard
motorboat, taking a tent along and camping
overnight.

In disposition these two toughs from the
chorus are very different. Jimmy, in spite of
his red hair, is ready to make friends with
everybody and is generally easy-going. Allen
is aloof and has few intimates.

"My likes and dislikes are so extreme," he
analyzes, "whereas Jimmy is tactful and can
be 'middling.' He is studious, and a little
light fiction is the extent of my reading."

Nevertheless, of the two, Allen's prepara-
tion for drama was much more thorough,
thanks to his training at the dramatic acad-
emy. Hard knocks taught Jimmy.

"AND they're silly," Jimmy insists, "to
■* *-keep Jenkins in mug parts. Why, I saw
him do a dressed-up role on the stage. He wore
a tailor-made suit, sported a mustache, and he
was as dapper as could be!" Loyally, Cagney
argues with the studio executives not to push
his pal into a rut.

It's a long way from that tiny dressing-
room four flights up in the back-stage loft,
which they shared in Boston, to their present
fame and fortune. Jimmy cashed in on his
memories when he was called upon to portray
the dance director in "Footlight Parade."
As for Jenkins, the only thing which might be
a tip-off to his chorus past is a sartorial habit.
He prefers berets to hats.

HOW THE WRONG SHADE OF
FACE POWDER CAN MAKE
YOU LOOK YEARS OLDER

Pavlova's Experience

ANNA PAVLOVA, the great dancer, was
, giving two concerts in a distant city.
The first night she looked gloriously young
and vibrant. But the second night she was
another woman altogether — she looked old
and haggard. Something terrible had hap-
pened to cause the transformation. What
was it?

Just this: By mistake the wrong colored
spotlight was thrown on her. And the effect
was that she appeared twenty years older.
The audience whispered — "My, how old
Pavlova looks." The right light was im-
mediately switched on. But the damage was
done ! No one in the audience could be con-
vinced that Pavlova hadn't grown old.

Your Face Powder Shade —
Aging or Youthifying?

What holds for lighting holds for face pow-
der shades, too. The wrong shade can make
you look five to ten years older. Many women,
choosing their face powder shade on the wrong
basis, are victims of a decidedly aging effect.
Could it be possible that you, too, are paying
the penalty of the wrong shade of face pow-
der? Look at the above illustration. It gives
you some idea of the difference the right and
wrong shade of face powder makes*

One Way to Tell

There is one way to tell which is the right
shade of face powder for you — which shade
makes you look young rather than old — and
that is to try all the five basic shades. As
Lady Esther has demonstrated and, as color
specialists confirm, there are five basic shades
which supply the needs of all types of women.
One of these will prove the most flattering
and— youthifying— for you. And Lady Esther
offers you the opportunity of finding out that
shade at her expense.

At Lady Esther's Expense !

Simply mail your name and address and you
will receive a liberal supply of all five shades
of Lady Esther Face Powder. Try them all on
your face before your mirror and instantly
one of these shades will prove the one for
you. Mail coupon now for all five shades of
Lady Esther Face Powder.

(— —- — —.— — — — — _ | % | — . — _o___

(You Can Paste This on Penny Postcard )\ c p c c

LADY ESTHER, 2018 Ridge Ave., '
Evanston, III.

I want to find the right shade of face powder
for my type. Please send liberal supply of all 5
shades of Lady Esther Face Powder free and
postpaid.

Name ...
Address
City

State

This offer not good in Canada.

i
i

C3> )

I 12

Photoplay Magazine for February, 1934

When Winter brings

CHAPPED

LIPS

MENTHOLATUM

b)uruf± Aoothing.

COMFORT

When your lips are sore, irritated,
and chapped Mentholatum brings
a delightful sensation of coolness
and comfort. Mentholatum contains
medicinal ingredients that hasten
healing, make your lips smooth and
soft, and help avoid those skin
disorders that so often follow
neglect.

mnT!

WE DO OUR PAST

atM-^u^tfC

*T£sTM?CE

Complexion Curse

She thought she was just unlucky when he called on
her once — avoided her thereafter. But no one admires
pimply, blemished skin. More and more women are
realizing that pimples and blotches are often danger
6ignals of clogged, bowels — poisonous wastes ravaging
the system. Let NR (Nature's Remedy) afford com-
plete, thorough elimination and promptly ease away
beauty-ruining poisonous matter. Fine for sick head-
ache, bilious conditions,dizziness. Try this safe, depend-
able, all-vegetable corrective.
At all druggists'— only 25 cents.

FRFFI Newgold&blue

rnr.L! m4 Calendar-

Thermometer — samples

NR and Tunis. Send

name, address, stamp to

A. H. LEWIS CO.

DesK 8B-55

St. Louis, Missouri

Sylvia Gives Clara Bow Some Timely Advice

CONTINUED FROM PAGE 35

grand! Now stiffen the knees and pull yourself
forward — with your arms still straight out —
until your head is touching your knees. If
you're stiff you've got to work and work hard
until you can do it. But all the time keep your
body relaxed. And all the time keep thinking
about that bump. While your head is on your
knees make your shoulder-blades squeeze the
bump. Now roll back, rolling all the way along
the spine and touch your toes over your head
with almost the entire weight of the body rest-
ing on the bump. Why, you can just feel that
bump smashing off! My, it's great. Start out
by doing this roll back and forth ten times a day
and then work up to twenty! You've got to do
it, Clara, and, incidentally, it's good for the
entire figure. It's a good exercise for the dia-
phragm, for the hips, the legs, for the upper
arms and round shoulders. It will also
strengthen the spine and help you to hold
yourself straight.

To tell you the truth, Clara, I was amazed
that you were so plump when I saw you do
that zippy hip-swinging dance in "Hoopla."
Darling, that was hot. But while the audience
was admiring it for its hotness, I was thinking
what a great reducing exercise it was. So keep
it up even when there aren't any cameras
around. Swing the fat off, Clara, and I don't
think Rex Bell will mind being an audience of
one when you take that exercise.

And that brings me to a point I've been
wanting to make to all you picture girls. I
know what you do. You absolutely forget
about your figures between pictures. And
don't begin your exercises and diets until just a
couple of days before you start a picture. You
know how college students "cram" for an
examination? Well, that's what you girls do
before you start work. You "cram" your
reducing. What you've got to do is to take
the proper exercises and diets whether you're
working or not. Get the habit of exercise.

Do it every day. Then it will come easy. Just
you see!

Clara, you're a serious artiste now. Out in
Hollywood when you're working you don't let
people come on your set to stare at you. You
take yourself seriously. And I'm for you,
darling. I'm serious, too, and I want to see
your figure and your face measure up to your
acting. I want you to take this advice in the
spirit in which it is written — a very sincere
spirit.

I could have written this to you and sent it
to you through the mail marked "strictly per-
sonal," but I want other girls who have your
problems to have the benefit of it, too. And if
you don't believe I'm giving you the right dope
just ask those other girls who read my articles.
They know it can be done. They face their
figure problems just as you must. It's im-
portant, Clara. Now hop to it. First take
off the excess plumpness on your face. While
you're doing that, get to work on that bump
on the back of your spine, and the exercise I've
given you for that will take down your figure
generally.

Oh yes, and just one more thing. I know you
love to ride horseback. I know that it's grand
to go galloping all over the country with Rex
when you're on the ranch. But don't do too
much horseback riding. It spreads the hips,
darling.

Okay, Clara, I'm signing off now. And I
hope the next time I see you on the screen
you'll look as beautiful as I know you can look.
Remember, I'll have my eagle eye on you.
You're a great kid.

I like you, and I know you've got sense
enough to realize that everything I've told you
is for your own good.

Love and good luck, and goodbye to those
extra pounds.

Your friend,

Sylvia.

Answers by Sylvia

TROUBLES, bothers, worries—
what a joy it is, girls, to be able
to help! You see here the kind of help-
ful advice Aunt Sylvia gives others.
If you want help, simply write Sylvia,
care of PHOTOPLAY Magazine, 221
West 57th Street, New York City, en-
closing a stamped, self-addressed en-
velope. No obligation — glad I can be
of assistance.

SYLVIA

Dear Sylvia:

I do admire a long, narrow face so much but
my face is round and I hate it. Is there any-
thing I can do for it? I know you've often
said that you can't change the bone formation,
but maybe there is something else I could do?
G. H., Fort Worth, Texas

Well, can you beat it? I'm glad your letter
came this month. Because my article in this
issue is advice to Clara Bow about just that
very thing. Read it and take it to heart. I
knew I was right in telling Clara what to do
publicly instead of privately. When you are
reading this article, Clara will be reading it,
too. Both of you must do what I say. You'll
both be rewarded.

My dear Madame Sylvia:

I have been afraid to squeeze off the flesh
as you recommend because my husband tells
me it will make my flesh flabby. Is that true?
Mrs. F. F. W., New Orleans, La.

How can the flesh be flabby when there
isn't any flesh there, darling? Seriously, you
mustn't fear anything like that. If you
squeeze off the fat as I tell you, you won't be
flabby because you work on the muscles.
You do not stretch the skin. You work from
underneath, dipping under the skin to get at
those fat cells and the muscles. I've never
had any complaints about flabbiness — and I've
been handing out advice for a long, long time.

My dear Madame Sylvia:

I am nervous and someone told me that it
would make me sleep better and feel better if
I took very hot baths before I went to bed
at night. I've been doing that for months,
but I seem to feel so pepless.

B. D., Jacksonville, Fla.

Well, if you want to kill yourself, keep on
taking hot baths. And I wish people who give
out advice when they don't know what they're
talking about would take a jump in the lake!
Stop the hot baths at once! Take a cool
shower in the morning. Rub your spine
briskly with a Turkish towel for twenty
minutes. To sleep well work at the back of
your neck with your hands until the muscles
there are all relaxed. Then work on your
spine. Then, with two fingers, work in a small
circle in a rotary movement just at the corner
of each eye. That will put you to sleep.
Hot baths sap all your energy. No wonder
you don't have any pep.

Photoplay Magazine for February, 1934

Undraping Hollywood

[ CONTINUED FROM PAGE 29 ]

"She Done Him Wrong" has had on hips,
bosoms, and millinery. Remember Garbo's
pill-box hat. We thought it was hideous. But
we wore it — and liked it!

The various fashion creators and designers in
Hollywood studios all agree on one point:
that the effect of seeing so many undressed
girls on the screen will be psychological. The
eye gradually becomes accustomed to the un-
draped feminine body, and there is no shock left.

'"PHE immediate result, according to Travis
■^ Banton, designer for Paramount stars, has
been a desire for contrast.

"This winter, women have been covered up
as never before. Muffled about the neck,
draped in long, intricate sleeves and trailing
skirts. The only area left exposed has been the
back. This has been due to a conclusion that
a woman does not have to show all her anatomy
to be alluring.

"But fashions will swing around, this spring
and summer, to the very low front, exposing the
swelling bosom — due to the Mae West in-
fluence. (Banton designed the West cos-
tumes.) The extreme uncovering they have
seen so frequently on the screen has made all
women body — and leg — conscious. They will
take better care of their bodies, as more and
more of them are exposed. We will have
transparencies at the hem and above return-
ing, and the long Directoire split up the side of
the sheath skirt, as far as the knee, or farther.

" Women of fashion will never copy chorus
girls — but the influence of the theatrical cos-
tume will be felt more than ever, but modified.
Already we have glitter in the daytime, which
has heretofore been regarded as extreme, and
we have the feeling of ornament.

"The new Dietrich costumes in 'Catherine
the Great,' in which she is incredibly beautiful,
will emphasize more than ever the importance
of shoulders and bust. Her gowns are brought
way down in the front to the lowest possible
degree, clearly showing the deep line between
the breasts. The back is also very low. Women
in the audience, seeing how exquisitely beauti-
ful and feminine she looks, cannot help being
influenced in their own clothes."

Adrian, at M-G-M, sees it this way: "Mu-
sicals with undressed girls will certainly bring
about a terrific reaction toward dressing up.
They will vie with the nudist colonies in
making clothes important, because the more
one sees of the dancing girls, the more one'
realizes the value of clothes in enhancing femi-
nine charm.

'""PHE effect on fashion will be certain,

*■ but indirect. The swathed neckline will
change. The new spring clothes will show
radical and unusual collar treatment, and ex-
tremely low decolletage for evening.

"Already, the thrill of near-nudity in the
chorus girl is beginning to diminish. We are
becoming satiated. The most beautiful and
expensive chorus number we have in 'Going
Hollywood' is one in which the girls wear
gorgeous medieval costumes — and on each one
was lavished the same amount of care, time and
expense that we ordinarily spend on a star's
creation. We felt that after the deluge of flesh,
the girls looked more alluring in these feminine
costumes than when practically naked.

"Nudity, to my mind, robs the figure of all
imagination and real beauty."

Orry-Kelly, at Warners, has an interesting
theory. "No matter how far we may stray
away," he says, "eventually we always return
to the Greek simplicity. The Greeks loved
their bodies and dared to show them. They
were a race of body-worshippers. We are ap-
proximately the same, here in Hollywood.

"Fashion is fickle. All winter, women have
been bundled to the chin. In three months'
time, the pendulum will swing around to ex-

Ends poor complexion

■ (PIMPLES, BLACKHEADS ■ AND LARGE PORES)

with famous medicated cream

DON'T let a poor complexion spoil
your romance. Don't permit coarse
pores, blackheads, stubborn blemishes
to rob you of your natural loveliness.
Rid yourself of these distressing faults.
But not with ordinary complexion
creams. They cleanse only the surface.
Try the treatment that doctors pre-
scribe and nurses use themselves. Al-
ready 6,000,000 women know this perfect

^ Wonderful for
Chapped Hands, too

Improve them overnight
with this famous cream

10,000,000 jars sold yearly

Make this convincing overnight
test. Apply Noxzema on one hand
tonight. In the morning note how
soothed it feels— how much softer,
smoother, whiter that hand is! Nox-
zema improves hands overnight.

way to a perfect complexion . . . Nox-
zema, the famous snow-white medicated
cream that works beauty "miracles".
Not a salve. Snow-white— greaseless,
instantly absorbed. Its gentle, soothing
medication penetrates deep into the
affected pores. Purges them of germ-
breeding impurities that cause skin
blemishes. Soothes irritated skin. Re-
fines coarse pores. Helps stimulate lag-
ging skin glands. Noxzema's first appli-
cation leaves your skin far clearer,
finer, smoother than before.

HOW TO USE: Apply Noxzema
every night after all make-up has been
removed. Wash off in the morning with
warm water, followed by cold water or
ice. Apply a little Noxzema again be-
fore you powder as a protective powder
base. With this scientifically perfect
complexion aid, you'll soon glory in a
skin so clean and clear and lovely it will
stand closest scrutiny.

Special Trial Offer

Noxzema Cream is sold
by all drug and depart-
ment stores. If your
dealer can't supply you,
send 10c to the Nox-
zema Chemical Co.,
Dept. 42. Baltimore,
Md., and you will re-
ceive a very
generous trial
jar — enough
for a 10 day
treatment!

JVbx:

zema

ii4

Photoplay Magazine for February, 1934

as a Picture !

Your hair will be lovely, lustrous, sparkling with
dancing lights— pretty as a picture— after a Golden Glint
Shampoo. The secret? Simply this— it is used differ-
ently—just to suit your own shade of hair.

So easy to use— yet what a delightful effect it gives!
Your hair will glow with soft loveliness. You'll see
beautiful undertones that hide from ordinary sham-
poos. Your hair will be lovelier than you've ever
seen it. 25c at your dealers', or send for free sample!

FREE

J. W. KOBI CO.
Seattle, Wash. «

Name

Address.
City

604 Rainier Ave., Dept. B,
* « * Please send a free sample.

.State-

Color of my hair:

Take Ugly

HAIR

from

FACE

pleasantly

Simply apply gentle, fragrant De Wans
—wait 3 minutes — then wash off.
Facial hair will be entirely gone.
Your skin will be a thrill to see . . . and
a greater thrill to touch! No smarting.
No reddening. Why, it doesn't even
"pink" the skin! Being mild enough
for facial use, DeWans is. of course,
6afe for use on arms and legs as well.
And its new low price makes such use
perfectly economical. DeWans is $1,
at the best department and drug stores.

DeWANSWFACIAL
HAIR REMOVER

STANDARD
WATCHES ON
EASY TERMS

ELGINS
Hamiltons
BULOVAS

ON FREE TRIAL

Wear this

DIAMOND

30daysFREE

The moat outstanding offer ever^
made. We actually Bend you your
choice of a genuine Certified, Per-
fect Blue White Diamond for 30
days' inspection in your own home

WITHOUT a PENNY DOWN
-orC.O.D.toPAY! fj'";???

good with Helzberp. Write today for spe-
cial bargain bulletin and free trial offer —
* a postal will do.

Un7RFRnfC DIAMOND SHOP
1EL4PEI1W J Deol.1401KaneasCitv.Mo.

When writing advertisers please mention
PHOTOPLAY MAGAZINE

treme exposure of the breast, and more
luxurious materials than ever. The newest
invention of fashion is the five-o'clock-dress,
and the most sensible. In it, a woman of
fashion may dress for a cocktail party, dinner,
and the theater or any event after — and be
suitably gowned throughout the evening. Many
of these dresses are made very decollete with a
little formal jacket that can be removed.
Many with no jacket will be ingeniously de-
vised to unfasten about the neck, front and
back, as the evening grows later. This dress
has captured feminine fancy and will stay in
for a long time."

J/" ALLOCH, at Columbia, designed costumes
■^-for the famous Ziegfeld. He says, " Clothes
are the first indication of the reaction of a
country.

"We are experiencing a great relaxation
from worry — the same thing that occurred im-
mediately after the war, when people said,
'Let's be gay, let's be naughty, in spite of
everything. Look what we have been through ! '

"The instant response in pictures was the
cycle of bright, happy musicals, with the laugh-
ing, half-naked chorus girls.

"The identical thing happened during the
Direcloire period, which is having such a pro-
nounced effect on current fashions. The
ladies then not only stripped themselves to the
most diaphanous costumes — they moistened
their gowns with scented oil and perfume so
they would cjing voluptuously to the body!
Then they went out with them on, wet, and
that accounts for the terrible epidemic of
pneumonia that year.

" We are doing the same — in a modern, modi-
fied way. The move toward undressing on the
screen will keep moving, and the fashion results
will be felt very soon. Musicals are a symptom
and a stimulation toward what women want to
do — reveal more and more of the lovely bodies
on which they are lavishing more care than ever
before.

" We are making a bride's dress for Claudette
Colbert, which has dignity — but is still a little
on the gay side. Maybe the gaiety of the
nation is yet a little forced — for the moment
everyone is acting, which is fun to watch. The
repeal of prohibition has had a definite influ-
ence on clothes, jewels and manners. On the
depression, which we now speak of positively in
the past tense. All these things show startlingly
in pictures and fashions.

"Just as the Sennett bathing beauties had
their effect on revolutionizing the bathing-suit
right down to the present wisp it has turned

out to be — so musicals and all other pictures
have their lasting 'say' in all types of clothes.

"We recently designed a fur evening coat
for Elissa Landi — with the whole back cut out
to the waist! And Elissa, one of the more con-
servative stars, wore diaphanous draperies that
covered her exquisite body — but certainly re-
vealed it at the same time.

"The idea of suggesting undress has always
been more seductive than stark nakedness.
The naughtiest lady in pictures or any place
else is more sex-alluring when slightly covered
and suggesting her possibilities, than entirely
sans raiment. There is always that piquant
idea of wondering 'What has she?' Much
more intriguing than 'That's all there is —
there isn't any more!'

"The Direcloire split up the skirt and the
stock-collar look are returning fast. The small
hips, long fines, general pushing-forward of
clothes — that ' I'm-going-to-be-there' look —
the Winged Victory, with the wind blowing the
other way.

"Because the motivating idea in clothes now
is 'We must get out, get away, let's go forward
into something better.' Witness the airplane
dresses and that general flying-hither-and-yon
appearance.

"These trends will have more impetus from
pictures than from any other medium. Every-
thing concerns movement, the whole silhouette
— and this is a direct result of pictures. Shine,
color and glitter — well-dressed women are even
wearing spangles to luncheon — very subdued
spangles, done awfully well, of course. The
only difference between late afternoon and
midnight gowns is in the addition of jewels.

"The whole idea is sheer delight — abandon
—forced or not, it doesn't matter. It gets
people in a light mood, lifts them out of the
heavy, tired fog in which they have been lost.

"TDICTURES, especially musicals, have been
-L the first to promote this cheer-leader atti-
tude. What could be more merry and carefree
than a group of half -clad chorus girls, prancing
nimbly across the screen, full of the joy of liv-
ing? That is the mood all women want to
approximate, these days. They can't prance
or go half-clad — but they can convey the im-
pression with clothes.

"In my opinion, those who appreciate the
value of contrast will realize that they can do
it with a flash at an ankle, a rounded breast, or
a hip-bone, more than they can by stripping."
So — there you have the elaborations of four
of the leading stylists of the world, who have
all draped — and undraped — Hollywood.

I Meet Miss Crawford

CONTINUED FROM PAGE 37 ]

picture, with only hard-boiled directors and
cameramen to look on. Then the picture goes
out into the world — and I am left behind, never
to hear a single round of any warm, cheering
applause it may bring. It is as if we could
never get closer to those we love than through
letters. But, of course, the stage is small and
limited, while the whole world — all of life and
history — is within the range of the pictures."

I asked her how far they could go — what
heights they could reach.

SHE threw back her lovely head and her
voice was charged with the passion of a pro-
phetic vision. " Oh, we've just started ! We've
only now stumbled on the road that finally will
lead to perfection. There is constant improve-
ment in the mechanics of camera and sound
equipment. Our screen plays are becoming
finer and vastly more beautiful. Men of great
imagination and talent, such as Thalberg, are
more and more approaching pictures as a very
great art. It is no longer only a place and way
to make fabulous, fantastic sums of money — it
is a way to create beauty and express the secrets
of the heart. I believe that Irving Thalberg

alone will carry far ahead the torch that will
light the trail to a whole new conception of the
vast possibilities of the motion picture. It is
unlimited, inconceivable in its promises."

These cold, black words on white paper fail
completely to paint the fire of sincerity and en-
thusiasm that flamed in her eyes and voice.
" I want to be part of this great development,"
she said slowly. "I repeat, pictures are only
beginning to show their potential greatness."

I wanted to cheer. I believed thoroughly in
what she was saying and I told her so. Then I
asked her about her own future pictures.

"My next picture is to be 'Pretty Sadie
McKee' — and I'm ready for my big chance.
I'd like to do ' The Merry Widow' with Maurice
Chevalier, with Irving Thalberg to supervise it. "

"But I had no idea you could sing."

She smiled. " Neither did anyone else. You
see, I've been taking vocal lessons, just for
some such chance."

That, I imagine, is what many people would
call a "break." But I don't call it that at all.
I call it fishing for, rather than waiting for, an
opportunity. This slender, talented young per-
son was not content to be merely a very sue-

Photoplay Magazine for February, 1934

cessful motion picture star who could play
glamorous parts: she insisted on preparing her-
self so that she could do immortal parts.

It is a restless, boundless ambition that
fairly consumes her.

She is eager and determined to plumb the
depths of knowledge — to learn anything and
everything.

"Oh, I'd like to have time to read all the
dictionaries and encyclopedias in the world,"
she went on breathlessly. "I'm never so happy
as when I'm sitting on the floor with a dozen
big volumes piled around me. You see, I start
to look up one thing and before I finish a para-
graph I find a reference to something else I
don't understand, and then I have to look that
up — and so it goes until I'm buried alive in
books. And I love it."

THEN it was that she spoke of young Doug
and their shattered romance. I don't know
this attractive lad, but I wish that he might
have heard just what she said about him. I
fancy that I'm fairly case-hardened, but it was
brave and beautiful.

"You see, he was wonderfully educated,"
she explained, "and he'd use big words, and I'd
embarrass him terribly when I'd stop him even
when there were a lot of people around and ask
him what so-and-so meant. I wouldn't know
how to spell it even if I could have remembered
it, so I couldn't just wait and look it up in the
dictionary when I'd get home. So I'd just ask
him straight out. Poor Doug! He is a fine
person, and we had many happy hours to-
gether.

" But, you see, he could never quite get over
his two heroes — his distinguished father and
Jack Barrymore. He thought he was himself,
but for a long time he really was the shadow
of those two great actors.

"I suppose it just wasn't in the cards for us to
make it go. At first I could not help but be
bitter and resentful, but I'm not any more.
We learn a lot from the blows that life gives us.
In a way, they're infinitely more important to
us than the gestures of success that may fall
our way."

It was strange to hear such ripe words of
philosophy from this extraordinary young
woman.

"They made me want to know more about
her, so I asked her quite bluntly to tell of her-
self, what she wanted, how she viewed life.

"I want to read a great deal," she began.
"You see, I had such a pitifully little education
and now I have to work hard to make up for it.
Why, do you know I had never read 'Alice in
Wonderland' until the other day on the train
coming East.

"And there are thousands of books that I
want to catch up with.

"What a sweet and wonderful thing life is,"
she said excitedly. "I remember a line I saw
in a newspaper the other day — ' Some people
are so afraid to die that they never begin to
life.'

"And I want to live — I want to know every-
thing and see everything. I want to travel
and be happy all my life. I want to touch the
stars."

A TELEPHONE rang. I had overstayed
■**■ my time. I rose to go.

"I'd like to talk hours with you," she was
kind enough to say. "Won't you come back
before I start for the West?"

But I was on my way to Washington. I
would not be back until after she had left. I
said goodbye — and it was like saying goodbye
and bon voyage to an old friend.

And as I walked down the hall toward the
elevator, and in fact the whole evening
through, I felt as I said at the beginning of this
little piece, "jes' good." I had been with a
completely happy person. Life to her was full
and beautiful. She had risen out of the ashes
and dust; she had found a new world that was
fair and lovely.

I don't know much about motion pictures,
but I know a little about human beings — and
~)oan Crawford is a swell human being.

^sfjT^

■ Nothing ages hands so quickly as
dishwashing with soaps containing
harmful alkali. This dries the skin,
makes it coarse and rough.
Don't let dishwashing age your
hands. Lux gives your hands a beauty
treatment every time you wash the
dishes. Lux has no harmful alkali —
leaves hands softly young and white.
Costs less than \<t a day!

prevents humiliating
DISH PAN hands

The

SHERRY-NETHERLAND

A living-room overlooking Central Park

A bedroom in the French manner

Charming Suites By-the-Day

You may enjoy, even on short New York visits, the conve-
nience and refreshing luxury of a Sherry-Netherland suite.
And your address . . . the smartest square in New York.

FIFTH AVENUE AT 59TH STREET . ON CENTRAL PARK . NEW YORK

Photoplay Magazine for February, 1934

Fashion insists that your new
hair dress include those flattering
ringlets and soft curls so smartly-
feminine. And they're not at all
difficult with these new Sta-Rite
pins. Only an inch and a half
long, they're the tiniest, most
truly invisible pins you've ever used.
Do try them — they make ordinary
bob pins seem needlessly clumsy.

Ten cents at your favorite store or beauty
shop — in hlac\, brown, blonde or gray. Or
send 10 cents for trial package. (State Color).

STA-RITE HAIR PIN CO.
Shelbyville, Illinois

How BLONDES

hold their sweethearts

MEN STAY in love with the blonde who makes
the most of her hair. She does it with
Blondex, the powdery shampoo that sets light
hair aglow with new lustrous beauty — keeps it
golden-bright and radiantly gleaming. Brings
back real blonde gleam to stringy, faded light hair
— without injurious chemicals. Blondex bubbles
instantly into a frothy, searching foam that routs
out every bit of scalp dust— stimulates hair roots.
Leaves hair soft and silky. Let Blondex make
your hair unforgettably alluring. Blondex comes
in two sizes — the NEW, inexpensive 25c package
and the economical $1.00 bottle. Try it today
and see the difference. At all good drug j^R
and department stores. Have you tried *
Blondex Wave Set Powder? Doesn't
darken light hair— not sticky— only 35c. «? „.,

Mercolized Wax

Keeps Skin Young

It peels off aged skin in fine particles until all defects
such as tan, freckles, oiliness and liver 6pots dis-
appear. Skin is then soft, clear, velvety and face
looks years younger. Mercolized Wax brings out
your hidden beauty. To remove wrinkles quickly
dissolve one ounce Powdered Saxolite in one-half
pint witch hazel and use daily. At all drug stores.

The Passing Show of '33

contixtjTed from page 51

Please mention PHOTOPLAY MAGAZINE
when answering advertisements

and twenty-two man-eating lions. He cracks
a tomato-colored whip and the animals roll
over — dead. They just had a glimpse of
Cecil's riding breeches with puttees. Will
Rogers drags on a huge hog called " Blue Boy."
Clyde Beatty gets intimate with a couple
dozen lions and tigers for Universal's "The
Big Cage," Paramount gets hysterical with
"King of the Jungle," and Fox shoots the
works in "Zoo in Budapest." Starving actors
in stolen bearskin rugs get work for the first
time in years.

The spotlight is suddenly swung to a tweed-
clad figure who waves a gloved hand at re-
porters, who are too stunned to wave back.

f~** ARBO, she come back, by yumpin yimminy,
^-^just as Georgie Raft, with his three hundred
and sixty-five suits, seventy dozen handker-
chiefs, six jars of hair slickem and two body-
guards, walks out of Paramount's life. Georgie
won't be naughty in "The Story of Temple
Drake," but Jack LaRue, with five sisters, one
mother, two dogs and a pot of spaghetti, will.

Constance Bennett waves a fond farewell to
the Marquis, who sets sail for the South Seas
to make a picture, while Cecil De Mille starts
his famous hunt for "The Perfect Virgin."

The whole world becomes curve conscious as
the Mae West vogue grows. People curve in
places they haven't curved in for years.
Bicycles come and go, and so does Charlie
Laughton. With a goatee.

Warner Brothers paste tin-foil on a fast
train and the "42nd Street Special" shuffles off
to Buffalo.

And now the whole company, from elec-
tricians to star, is frozen into a silence that
reaches throughout the land as Mary Pickford
announces her separation from Douglas Fair-
banks. There is grief in Mary's eyes, and all
Hollywood bows its head at the passing of this
great romance.

Douglas remains in England. And Mary
files suit for divorce.

Lionel Barrymore comes screaming in, wear-
ing his usual knickers and waving a dilapidated
object. He has just found his Rasputin
whiskers, mislaid in 1932.

A baby epidemic sweeps the land. Actors go
about tiptoeing so as not to wake up baby.
The Dick Arlens get themselves a baby boy,
but the strain proves too much for their friend,
Bing Crosby, who takes to his bed. Then
the Crosbys get one, and Bing takes to two
beds somewhere down "The Old Ox Road."

"p\E MILLE finds his " Perfect Virgin," who
-'—^proves to be only the wife of a famous
wrestler. Al Jolson pokes Walter W'inchell in
the neck at the prize-fights, and Walter
promptly sues Al for a pain in the neck.

Sammy Goldwyn makes "Nana" twice.
(The first time Pert Kelton stole the show from
Anna Sten.) And Connie Bennett greets
hubby, back from the South Seas.

De Mille sets sail for Hawaii with "Four
Frightened People," and returns leaving one
thousand natives not only frightened, but
scared stiff.

Cary Grant and Virginia Cherrill both deny
their engagement.

Wine cards suddenly pop up all over town.
When you hear the sound of the gong, it's cock-
tail time in Hollywood. The gong rings con-
stantly.

More divorces crowd the center of the stage
as the baby epidemic act goes off in ermine-
lined perambulators. Carole Lombard flies off
to Reno, leaving Bill Powell flat, but suave.
The Adolphe Menjous and the Richard Dixes
sever knots, while the eternal triangle is en-
acted by such capable artists as Adrienne
Ames, her husband and Bruce Cabot. It's a
touching little drama. "Just a friend,"

screams Cabot. Then comes the pay-off.
"Just a husband," screams Bruce as Adrienne
walks him from the altar to Honolulu.

Connie Bennett again waves bye-bye to
Hank, on his way to Europe. Virginia Cherrill
bounces a glass off Cary Grant's head and both
deny their engagement.

Sylvia Sidney walks off " The Way to Love"
set and goes to Europe. Paramount froths at
the mouth. But Georgie Raft sees the light in
the window and returns to the old mortgaged
homestead.

Zanuck walks out of Warner Brothers' life
and gives birth to 20th Century Productions.
Papa and baby doing fine, with Warners and
Zanuck racing neck and neck to see who makes
the same picture first. Score — 2 up for Zanuck.

/^"'LARK GABLE loses, 1. tonsils, 2. appendix,
^**3. ten pounds, 4. a lot of popularity to
Lee Tracy.

A new menace creeps on. Strikes. Elec-
tricians and cameramen strike, causing them-
selves grief and the companies delay.

Dietrich goes to Europe and comes home.
To Joey Von Sternberg and the same old pants.
Baby LeRoy learns one word in the year 1933.
It's "Nuts."

Cheers greet Irving Thalberg and Norma
Shearer on their return home.

With a rat-a-tat-tat and a do-deo-do-do, the
stage is cleared, making way for the big
musical acts.

Song writers, dance directors, chorus girls,
prancing up and down staircases, playing
lighted violins or jumping in and out of pools,
hold the stage. Hollywood breaks out with an
AIbertina Rasch.

Radio stars barge in and barge out. Crosby,
Ed Wynn, Kate Smith, Jack Pearl all hit town,
with Crosby the only "hold-over."

Virginia Cherrill and Cary Grant both leave
town and deny their engagement. Lupe be-
comes Mrs. Weissmuller, and with the tall and
stately Sandra Shaw, Gary Cooper headed
for "The Last Roundup."

At the sound of a little flute, the audience
rises to its feet and goes mad.

"The Three Little Pigs" sweep the country
with the whole world wanting to know —
"Who's afraid of the big, bad wolf?" Zulus
ask it. Hindus ask it. Eskimos ask it.

Harpo Marx rushes off to Russia and United
States immediately recognizes Russia. To
avoid disaster when the Russian blondes get
chased silly.

Max Baer comes to town and becomes the
hero of the hour. Once again Connie Bennett
greets her little rover, home from Europe. And
Jean Harlow throws a bombshell into the third
act by eloping with her cameraman.

Sylvia Sidney comes home to mama Para-
mount, and Crawford goes bye-bye with Fran-
chot Tone. Just friends, they say.

APPLAUSE, deafening applause, greets the
old tried and true stars who now come
marching triumphantly on. May Robson, Marie
Dressier, Mary Boland, Alison Skipworth. It's
their year. "God bless 'em," cries all Holly-
wood, and pauses a moment to bow its head in
memory of a dear departed one, Louise Closser
Hale.

Again the audience rises and cheers as climax
after climax breaks through to the finale.

Garbo chooses Gilbert for her picture and
the world approves. And then, out on a
Mexican balcony for a final farewell, trips Mrs.
Tracy's little boy, Lee, wrapped in a sheet.
"Whoopee," yells Lee at a passing parade and
the sheet slips, and so does Lee. Into a Mexi-
can hoosegow.

And the audience files out in shrieks of
laughter as the final curtain descends on Holly-
wood's Revue of the Vear 1933.

Photoplay Magazine for February, 1934

1I7

Bert Wheeler can't do any work unless his stooge, Johnny Kelly, is around
to help him. Bert first noticed Johnny opening and closing doors for movie
stars at the Brown Derby restaurant. Bert liked his grin and hired him.
Now Wheeler's favorite expression is, "Has anybody here seen Kelly?"

Everybody's Stooging Now

[ CONTINUED FROM PAGE 53 ]

"Sho'," explained the Southerner, "main
paht of Gaw-gah!"

When "Cracker" started getting more laughs
on the sets than Oakie himself, Jack took him
into a stooge partnership in self-defense, al-
though to this day it is usually "Cracker"
who makes a stooge out of Jack with his un-
suspected and devastating wit-cracks. He is
a sort of court jester, although to justify his
being on the Oakie pay-roll, "Cracker" man-
ages a number of Jack's personal affairs — and
if you saw "Too Much Harmony," you'll re-
member the mush-mouthed results of " Crack-
er's" linguistic tutelage. When Jack Oakie goes
completely Dixie in the funniest scene of the
picture, "Cracker" Henderson, his stooge, is
indirectly making his screen debut.

Perhaps the best stooge-supplied star in
Hollywood is George Raft with his former
stooge, Sammy Finn, whom Hollywood
dubbed "The Killer," and his present satellite,
Mack Gray.

Sammy, an old friend and former roommate
of George's in New York, came to California
for his health. When George came out, they
met and pooled living expenses. Then came
Raft's screen "arrival" and Sammy, who had
plied the prosaic trade of a dealer in women's
wear, was immediately surrounded by an
aura of sinister rumor. It was bruited about
that he was a bad, bad gunman and really
George's bodyguard. Hence, "The Killer."
However, Mr. Finn recently abandoned active
stooging to revert to trade, opening a dress
shop on Hollywood Boulevard. And Mack
Green, now Gray, stepped into the heroic spot.

MACK, whose vocation is training fighters,
knew George in the old lightweight ring
days, and having a run of bad luck out on the
Coast when the depression kayoed gate re-
ceipts, followed his former client into the
studios. He has worked in every Raft picture.
Maybe you've seen him — a tall, Ichabod Crane
person. There isn't a more adhesive shadow
in Hollywood. Wherever George goes, Mack
is sure to be close around.

Recently they took a cross-country auto-

mobile trip together, and when they returned
to Hollywood, Mack Green was Mack Gray.

George didn't care for Green — it is his pet-
peeve color!

Stooges, however, are not necessarily satel-
lites. Sometimes Hollywood endows a stooge
with mysterious powers.

A FFORDIXG the best example of the big
■**-shot Hollywood stooge is John Barry-
more's manager and perennial censor, Henry
Hochener, a former school teacher, who has
been Barrymore's professional protector for
some years. Studios find him the formidable
gate through which, and only through which,
Barrymore can be reached, quoted or even ob-
served. That's his job, and he does right well
by it. His stipend is rumored to be well up
in the five figure columns yearly. On occa-
sion, he has been known to even countermand
John's orders, rescind his promises and give
him advice.

Advice, as a matter of fact, is one thing
generally conceded to be the prerogative of a
Hollywood stooge. Al Jolson says he is always
asking his driver, Jimmy Donnelly, for ad-
vice, and then, like a darn fool, not taking it!

Donnelly has been Jolson's perfect stooge
for almost fifteen years. On the face of things,
he's Al's chauffeur, but actually he's more like
a member of the family. Often Al seeks his
advice on financial matters. Donnelly, by the
way, has himself become a man of means, al-
though he still prefers to be Al Jolson's stooge.

Recently, when Al was called to New York,
and wife Ruby Keeler was forced to stay in
Hollywood for a picture, Donnelly remained
behind to look after Ruby.

When Al finally came out again for "Won-
der Bar," (the screen version of "Wunder
Bar") the nightly game of "hearts" was re-
sumed. That's one duty Al requires of his
stooge — to buck him in his favorite card
game.

Often Hollywood stooges are picked up in
the oddest places! Victor McLaglen's exotic
stooge, Abdullah, hails from Mesopotamia.
McLaglen found the stooge when he was the

Good-bye

COLD!

When You Take This Complete
Cold Remedy

A COLD is too serious a thing to trust to
half-way measures. Remember, a cold is
an internal infection and must be got at from
the inside.

Grove's Laxative Bromo Quinine is the thing
to take because it is expressly a cold remedy and
because it does the four things necessary.

The 4 Things Necessary

First, Grove's Laxative Bromo Quinine opens
the bowels, gently but effectively. This is the
first step in expelling a cold. Second, it combats
the cold germs in the system and reduces the
fever. Third, it relieves the headache and that
grippy feeling. Fourth, it tones the entire sys-
tem and helps fortify against further attack.
This is the treatment a cold requires and any-
thing less is taking chances.

Grove's Laxative Bromo Quinine is utterly
harmless and perfectly safe to take. It is, and
has been for years, the leading cold and grippe
tablet of the world.

Noiv—20% More for Your Money

Grove's Laxative Bromo Quinine comes in

two sizes — 30c and 50c — and is sold by every

-— drug store in America. Buy

W /' ' ia t^e ^®c s'2e as 'c g'ves you

» - * 20c'i more for your money.

Always ask for it by the full
name and look for the letters
i' 7^!%JJJW LBQ stamped on every
m* iw/nsM tablet- Resent a substitute
W EShMjE asan attempt to exploit you.

GROVE'S LAXATIVE

BROMO QUININE

Photoplay Magazine for February, 1934

*
*

-K

+
-K
+
■K

*
■K

*
*

■k

NOW-
EIGHT

BEAUTIFUL

COLOR

PORTRAITS

of Popular

Film

Stars

Now EIGHT — for only 15 cents

Not ordinary pictures, but attractive reproductions made from the
original color pastelles by Earl Christy.

We have selected the eight poses illustrated above and have repro-
duced them in color on good quality stock. Sheet size of each picture
5%"x4%". They will be supplied unmounted suitable for framing
or mounting in your collection book.

This choice selection includes the following stars

GRETA GARBO NANCY CARROLL JOAN BENNETT
JANET GAYNOR NORMA SHEARER HELEN HAYES
RUBY KEELER CLAUDETTE COLBERT

Eight pictures now — for only 15 cents
WALT PRODUCTS

155 E. Walton Place CHICACO, ILL.

MAIL THE COUPON NOW

WALT PRODUCTS,
155 E. Walton Place,
Chicago, III.
Gentlemen:

Enclosed please find 15 cents for which send me the eight portraits of movie
stars printed in color, as per your advertisement.

Name
Address
City . . .

State .

^••••••••••••••••••••••••••••••••••••••••••••••••••t*I

ruler of fabulous Bagdad during the war.
(McLaglen ruled the city of the Arabian
Knights during five years of service for the
British, you know.) Abdullah still performs
the same primary duties he did in Bagdad,
supplying boxing and wrestling opposition to
keep Vic in trim. Besides, he's a one-man audi-
ence and severe critic of every film role.

Bert Wheeler found his stooge, however,
much nearer home — at the entrance to the
Hollywood Brown Derby where Johnny
Kelly's business was opening and closing the
door for movie stars, accompanying his actions
with a spread-eagle grin. The grin struck
Bert, who offered him a job, and now "Has
anybody here seen Kelly? " is the first question
Bert asks when he makes a move. For Johnny
is a stand-in, valet, chauffeur, fan-mail secre-
tary and social counsel, with a two year record
of stand-out stooging to his credit.

OOMETIMES, stooges even get to look like
^their own particular stars. If you have been
one of those embarrassed persons who has
upped to John Woodward and said, "Oh, Mr.
March — why — uh, I beg your pardon!" you
will also remember stumbling away groping
for your lost nonchalance and muttering,
"But he certainly looked like Freddie!" And
right you are. For a handsomer young
fellow you never saw than Mr. Woodward,
who came from Columbia University during
one of Paramount's college talent searches,
didn't click as an actor, settled down instead
as secretary, stand-in and wardrobe super-
visor to the star he resembles.

Richard Barthelmess' Dutch Petit is another
stooge who is a dead ringer for his star.

The usual proprietary attitude of a Holly-
wood stooge is something which those not
stooge-conscious simply are unable to fa-
thom. It enhances the law that "only editors,
kings with tapeworm — and stooges — can use
'we' and get by with it."

Marie Dressler's Mamie, her colored re-
tainer of nineteen years' service, plans her
meals and even buys Marie's clothes en
occasion. She knows Marie better, as Marie
has admitted, than herself. Recently, antici-
pating the star's return from a voyage to
Honolulu, Mamie took it upon herself to plan
and execute a surprise party for the home-
coming Marie, who found six of her most
intimate friends assembled at dinner to greet
her!

Myrna Loy signs blank checks for her Mexi-
can maid and companion, Caror, to fill out
as she needs for household expenses.

And Slim Summerville inadvertently offend-
ed his faithful studio stooge, Dave, when he
turned up at Slim's Laguna Beach home one
evening a little the worse for wear. Slim, who
was entertaining, came out to meet him and
pressed some bills into his hand. But that
wasn't enough. Back at Universal studios,
Dave bared his wounded feelings. Slim hadn't
asked him in to join the party!

THE parade of Hollywood's best known
stooges winds on endlessly— Ramon Novar-
ro's nephew and godson, Jorge Gavilan; Jack
Pearl's Cliff Hall (Sharley), a professional
stooge in its original meaning as well as per-
sonal; Tom Mix's John Agee, who is said to
have owned the famous Mix string of horses,
excepting Tony; Junior Laemmle's protector,
Joe Torillo; Schnozzle Durante's Jack Harvey.

But of them all there is one — nameless here
— who qualifies as the master stooge of Holly-
wood's history. Stooging for a single star was
mere child's play for this artist. He multiplied
his talents until it seemed that he was stooging
for everyone in Hollywood. Ten or twelve
stars at least proudly claimed him as stooge.
But he had even greater ambitions. He wanted
to serve his country in his own peculiar way.

He wanted — well, it was only discovered
when this patriot tangled with the late Noble
Experiment in a little business deal, and was
quickly hailed before a Los Angeles night
court. He was released, for the frisking of his
person had revealed a photograph showing him

Photoplay Magazine for February, 1934

II9

walking clown a Los Angeles street with his
arm affectionately around— of all people — a
president of the United States!

Somehow, during a visit of the late Calvin
Coolidge to Los Angeles, the stooge had
managed to frame a freak picture of himself
in a pally pose with Coolidge.

He was the president's stooge, he claimed,
and the picture seemed to prove it.

Anyway, the puzzled police let him go.

You don't pinch a presidential stooge.

Can a Man Love Two

Women at the Same

Time?

[ CONTINUED FROM PAGE 33 ]

kinds of life. I couldn't forever exchange the
niceties of living for the primitive customs and
be contented. But I like a little of each, in
balanced proportion.

SOME day," Gary said, a little wistfully,
''before I am too old to enjoy the adventure
of the thing, I want to go to India, to the jungles
of South America, to Alaska. I'll always re-
member my trip to the African jungle a few
years back. It made me realize what a mar-
velous place this old world really is and how
much it has to offer in the way of surprises."

Gary admits that it's this ambition which
keeps him going in his work. For he toes a
rigid mark in the studio schedule when he's
working. Up at six o'clock every morning.
Into the studio by eight at the latest. Before
his make-up table and into his costumes, ready
for work, by nine o'clock every morning. And
that, friends, is no mean task especially when
you're supposed to laugh and scowl and make
love and everything at that early hour.

And all the while Gary Cooper was talking,
I kept thinking of the vast number of girls who
have elected him their ideal screen romanticist.
To phrase it in their own words, "the most
wonderful lover in pictures."

I think I found one of the clues to Gary's
enormous popularity, aside from the fact that
he's terribly good-looking and has the build of
a Greek God.

(TARY has a very disarming way of looking at
^*-*one. He looks directly at the person to whom
he is speaking, and his clear, blue eyes never
flicker for even the fraction of a moment while
you are talking. Like the candor of an inno-
cent child who is wondering what life is all
about.

He has fine, strong hands, too. Artistic
fingers which taper gracefully to rounded nails.
The sort of hands which a palmist might say
combined a fine sensitivity with a masculine,
rugged practicability.

When you have just a flash of Gary's tender
attitude with the one girl of his heart as I
glimpsed it that morning during his telephone
conversation with Sandra, I no longer doubt
why Gary Cooper is the favorite screen lover
of thousands of girls. And the happy part of it
is that Gary seems blissfully unaware of his
appeal. He'd laugh it off if you tried to con-
vince him. And I think he'd blush like a school-
boy if he knew all the complimentary things
women everywhere say about him. Ask any
ten girls, in any walk of life, who their favorite
screen romanticist is, and nine out of ten will
tell you: "Gary Cooper."

Marion Davies chose him especially to play
opposite her in her latest picture "Operator
13." And Anna Sten, imported from Russia by
Sam Goldwyn to be starred in future produc-
tions, was asked what screen personality she
might like for "Barbary Coast," in which she
is to star.

She, too, chose Gary Cooper. And that,
ladies, seemed to make it unanimous.

FOR YEARS TO COME

Her Hair
Will Be Radiantly

uthfully, Beautiful

MARCHAND'S BRINGS BACK AND PROTECTS
LOVELY LIGHT HAIR . . .

NO longer does she fear her hair
will darken or fade. She has
been thru all that. Now she KNOWS
her hair will be lustrous and lovely
for many happy, exciting years ahead
—Thanks to Marchand's.

If your blonde hair has darkened or faded,
don't worry or wonder about what to do
(or don't experiment). Get the product
thousands of blondes have found to be the
most reliable, to produce the most skillful
results — Marchand's Golden Hair Wash.

Marchand's will make your hair an even,
light shade, becoming to you. Try a single
"secret" treatment to see for yourself. Mar-
chand's works in a conservative REFINED

way. You can control the effect — lighten-
ing hair just the tiniest shade. No one
else need know — it will be your "secret."
New hair growing in can be matched. Hair
that has always been dark can also be
beautified if lightened with Marchand's.
Not a dye. Complete directions on bottle
makes it simple to do yourself.

IMPORTANT— For the right results, get the
genuine. Be careful of substitutes or imita-

ASK YOUR DRUGGIST OR GET

BY MAIL
For a regular size bottle fill in cou-
pon, mail with 45c (coins, money
order or stamps) to C. Marchand
Co., 251 West 19th St., New York
City. "

MAKE DARK HAIR ON ARMS AND LEGS
UNNOTICEABLE WITH MARCHAND'S.
Quick, effective, inexpensive. Avoids stubbly
aftergrowth caused bv other methods.

Dept. 2-D

Your Name

• 1 u ur n u/uc •••••■■■•■ I

J iddress City State j

I Druggist 's Name I

J Address .'

EARN FRH

SPECIAL.

id no HONEY

Matthews* 1934 Spring Frocks, Lingerie and I
Longerllfe Hosiery — preferred by thousands!
everywhere — offer a real opportunity for many |
Women Representatives. Our new represen-
tative's plan requires no canvassing — no capi-
tal— no experience. We provide complete style I
equipment Free with easy instructions. Full or I

part time workers who act promptly

^*4^%^_ Set special bonus plan for free I

I ■■ |^^T^^ dresses, lingerie or hose. Act I

J J V^^. now. Address 582 Jackson |

■ ij Jm Bldg., Indianapolis. Ind.

UUJmL^^ MATTHEWS MFG. CO. I

Look as Young as You Please

Restore Youth to Your Face

A Free booklet sent in plain wrapper tells
tin- secret, if tells whj Kathryn Murray's
Five-Minute Facial exercises are the mod-
ern natural way to regain the charm of
youth. Simple exercises stimulate circula-
tion and bring nature I bloom to your
cheeks. Crow's feet, wrinkles,
double chin soon disappear. You
can look 5 to in years younger.
Ites 1 1 lis assured. Successfully
used by 36,000 women. Get free
book for derails. Address:
Kathryn Murray. Inc., Suite 258,
5 S. Wabash, Chicago.

High School Course
in 2 Years

You can complete

this simplified High
School Course at home in
2 years. Meets all requirements for entrance to college

ao't leading professions. Standanl Hitrh School t>-jcts supplied.
Diljoma awarded. Separate subjects 1/ desired . Send for Free
Bulletin TODAY. . _ . . No obligation.

American School

Dept. H.234, Drexel Ave, at 58th St.. Chicago

Be Charming

A BOOKLET WITHOUT COST— **

"The Smart Point of View"

Margery Wilson's personalized train-
ing by correspondence enhances per-
sonality, gives you poise, conversa-
tional ease, charming manners, finish,
trace — the smart point of view.

To receive the Booklet and

"Charm-Test" write to fiSifo

MARGERY WILSON f§§

1148 Fifth Ave. 67B New York

DR. WALTER'S

flesh colored gum rubber garments

LATEST BRASSIERE reduces 2 to 3
inches at once. Gives a trim, youthful, new
style figure. Send bust measure. . . $2.25
REDUCING GIRDLE. 2 to 3 inch re-
duction at once. Takes place of corset.
Beautifully made; very comfortable. Laced
at back, with 2 garters in front. Holds up
abdomen. Send waist and hip meas-
ure $3.75

Write 1 1 it literature, send check or

money order — no cash.

DR. JEANNE P.H.WALTER, 389 Fifth Ave., N.Y.

Bean ARTIST

MAKE $50 TO $200 A WEEK !

Our simple, proven methods make it easy
to learn Commercial Art, Cartooning and
Designing quickly, AT HOME, In spare
time. New low rate. Big new book, "ART for
Pleasure and Profit", sent free. Address:-
Studio 152 Washington school of
art. 1115 i5th st. wash.. d.c. est. 1914

120

3eet Hukt /

Photoplay Magazine for February, 1934

Addresses of the Stars

CORNS
SORE TOES
CALLOUSES

BUNIONS

SORE HEELS

SORE INSTEPS

SAFE RELIEF
IN ONE MINUTE!

Feel the grateful, lasting
relief that follows ONE
MIN UTE after you apply

Dr. Scholl's Zino-pads to corns, sore toes,

callouses or bunions! Gone is the nagging

friction and pressure of the shoe on the

sore spot. The soothing effect of these

thin, protective pads

relieves the irritated

nerves, inflammation

and soreness; prevents

tender toes, blisters and

abrasions from new or

tight shoes.

Remove Corns
and Callouses

quickly and safely by
using Dr. Scholl's Zino-
pads with the separate
Medicated Disks, in-
cluded in every box for that
purpose. Double value now at
no extra cost! Get a box at
your dealer's today.

Get the Corn Size for corns and sore
toes; <.'allous Size lor callouses and
sore heels; Bunion Size for bunions
and sore insteps; Soft Corn Size for
corns between the toes.

Dr Scholb

Zino-pads

PUT ONE ON — THE J PAIN IS GONE1

tkwc y<iu QtfwL <9wt ^MOUbteA. V

Dr. Scholl has formulated and perfected a
Remedy or Appliance for every foot trouble-
guaranteed to give relief. Ask your dealer.
Write for valuable booklet on FOOT CARE to
Dr. Scholl's, Dept.38 W. Schiller St., Chicago.

Subscribe for

Photoplay

Turn to page 5. this issue, for sub-
scription rate, below table of
contents

FREE

Oriental Scarf

(PURE SILK)

(Sells regularly for $1.00)

*l|| Just to ac(5ualnt V°u w'tn mV Oriental
"" articles. Only 1 to a person. This lovely
' scarf, one yard square, with its woven
Chinese designs in harmonious colors.
Use as table decoration scarf, or Bridge
Prize. Comes in, D Blue & Tan, D Green
fi^ & Tan, □ Maroon & Tan, D Soft Choco-
late. Check color wanted.
fj«J I will also send you my full list of
»* ■ Oriental Mandarin Lounging Pajamas,
Silk Kimonos, Geisha Girl Cigarette
Boxes, etc. All personally imported by
me.
Send only 30c (silver or stamps) to

w cover postage and packing. Money re-

-•— funded immediately if not satisfied.
DOROTHY BOYD ART STUDIO
33 Minna Ave. at First, San Francisco, Calif.

Hollywood, Calif.

Paramount Studios

Brian Aherne
Judith Allen
Lona Andre
Richard Arlcn
George Barbier
Mary Boland
Grace Bradley
Kathleen Burke
Burns and Allen
Kitty Carlisle
Claudette Colbert
Gary Cooper
Buster Crabbe
Bing Crosby
Dorothy Dell
Marlcne Dietrich
Frances Drake
W. C. Fields
William Frawley
Frances Fuller
Cary Grant
Shirley Grey
Charlotte Henry
Verna Millie
Miriam Hopkins

Roscoe Karns
Percy Kilbride
Jack La Rue
Charles Laughton
Baby LeRoy
John Davis Lodge
Carole Lombard
Herbert Marshall
Jack Oakie
Gail Patrick
George Raft
Lyda Roberti
Lanny Ross
Charlie Ruggles
Randolph Scott
Sylvia Sidney
Alison Skipworth
Sir Guy Standing
Kent Taylor
Evelyn Venable
Mae West
Dorothea Wieck
Toby Wing
Elizabeth Young

Fox Studios, 1401 N. Western Ave.

Rosemary Ames
Heather Angel
Lew A\ res
Jane Barnes
Mona Barrie
Warner Baxter
Irene Bentley
John Boles
Clara Bow
Nigel Bruce
Joe Cook

Henrietta Crosman
Florence Desmond
James Dunn
Sally Filers
Stepin Fetchit
Norman Foster
Preston Foster
Dixie Frances
Ketti Gallian
Henry Garat

Janet Gaynor
Lilian Harvey
Rochelle Hudson
Roger Imhof
Miriam Jordan
Victor Jory
Suzanne Kaaren
Howard Lally
Ralph Morgan
Herbert Mundin
George O'Brien
Pat Paterson
Will Rogers
Raul Roulien
Wini Shaw
Sid Silvers
Spencer Tracy
Claire Trevor
Blanca Vischer
June Vlasek
Hugh Williams

RKO-Radio Pictures, 780 Gower St.

Fred Astaire
Nils Asther
Ralph Bellamy
Constance Bennett
Joan Bennett
El Brendel
June Brewster
Clive Brook
Bruce Cabot
William Cagney
Mowita Castanada
Ada Cavell
Chick Chandler
Alden Chase
Jean Connors
Frances Dee
Dolores Del Rio
Richard Dix
Irene Dunne
Charles Farrell
Betty Furness
Skeets Gallagher
William Cargan

Wynne Gibson
Ann Harding
Katharine Hepburn
Dorothy Jordan
Pert Kelton
Edgar Kennedy
Francis Lederer
Dorothy Lee
Eric Linden
Helen Mack
Sari Maritza
Joel McCrea
Colleen Moore
Ginger Rogers
Robert Shayne
Adele Thomas
Thelma Todd
Nydia Westman
Bert Wheeler
Thelma White
Howard Wilson
Robert Woolsey

United Artists Studios, 1041 N. Formosa
Ave.

Eddie Cantor
Charles Chaplin
Ronald Colman

Douglas Fairbanks
Mary Pickford
Anna Sten

20th Century Studios, 1041 N. Formosa
Ave.

Judith Anderson
George Arliss
George Bancroft
Janet Beecher
Sally Blane
Constance Cummings
Arline Judge

Paul Kelly
Fredric March
Blossom Seeley
Judith Wood
Fay Wray
Loretta Young

Columbia Studios, 1438 Gower St.

Walter Connolly
Donald Cook
Richard Cromwell
Jack Holt
Elissa Landi
Edmund Lowe
Tim McCoy

Grace Moore
Toshia Mori
Jessie Ralph
Gene Raymond
Joseph Schildkraut
Ann Sothorn
Dorothy Tree

Culver City, Calif.

Hal Roach Studios

Charley Chase
Billy Gilbert
Oliver Hardy
Patsy Kelly
Stan Laurel
Dorothy Layton

Lillian Moore
Billy Nelson
Our Gang
Nena Quartaro
Oliver Wakefield

Metro-Goldwyn-Mayer Studios

Katherine Alexander
Elizabeth Allan
Agnes Anderson
Max Baer
John Barry more
Lionel Barrymore
Wallace Beery
Alice Brady
Charles Butterworth
Mary Carlisle
Ruth Channing
Mae Clarke
Jackie Cooper
Joan Crawford
Marion Davies
Marie Dressier
Jimmy Durante
Nelson Eddy
Stuart Erwin
Madge Evans
Muriel Evans
Clark Gable
Greta Garbo
C. Henry Gordon
Russell Hardie
Jean Harlow
Helen Hayes
Ted Healy
Jean Hersholt
Irene Hervey
Phillips Holmes
Jean Howard
Art Jarrett

Isabel Jewell
Otto Kruger
Myrna Loy
Ben Lyon

Jeanette MacDonald
Mala

Margaret McConnell
Florine McKinney
Una Merkel
Robert Montgomery
Polly Moran
Frank Morgan
Karen Morley
Ramon Novarro
Laurence Olivier
Maureen O'Sullivan
Earl Oxford
Jean Parker
Jack Pearl
Nat Pendleton
Esther Ralston
May Robson
Ruth Selwyn
Norma Shearer
Martha Sleeper
Mona Smith
Lewis Stone
FYanchot Tone
Lupe Velez
Johnny Weissmuller
Ed Wynn
Diana Wynyard
Robert Young

Universal City, Calif.

Universal Studios

Robert Allen
Vilma Banky
Vince Barnett
Andy Devine
Louise F"azenda
Sterling Holloway
Leila Hyams
Buck Jones
Boris Karloff
Jan Kiepura
Evalyn Knapp
June Knight
Paul Lukas
Mabel Marden

Ken Maynard
Chester Morris
Charlie Murray
ZaSu Pitts
Roger Pryor
Claude Rains
George Sidney
Onslow Stevens
Gloria Stuart
Margaret Sullavan
Slim Summerville
Luis Trenker
Alice White

Burbank, Calif.

Warners-First National Studios

Loretta Andrews
Mary Astor
Robert Barrat
Richard Barthelmess
George Blackwood
Joan Blondell
Joe E. Brown
Lynn Browning
James Cagney
Hobart Cavanaugh
Ruth Chatterton
Ricardo Cortez
Bette Davis
Claire Dodd
Ruth Donnelly
Ann Dvorak
Patricia Ellis
Glenda Farrell
Philip Faversham
Helen Foster
Kay Francis
Geraine Grear
Hugh Herbert
Arthur Hold
Ann Hovey
Leslie Howard
Alice Jans
Allen Jenkins
Al Jolson
Paul Kaye
Ruby Keeler

Guy Kibbee
Lorena Layson
Hal LeRoy
Margaret Lindsay
Marjorie Lytell
Aline MacMahon
Helen Mann
Frank McHugh
Adolphe Menjou
Jean Muir
Paul Muni
Theodore Newton
Pat O'Brien
Henry O'Neill
Edwin Phillips
Dick Powell
William Powell
Phillip Reed
Edward G. Robinson
Barbara Rogers
Kathryn Sergava
Barbara Stanwyck
Lyle Talbot
Sheila Terry
Genevieve Tobin
Gordon Westcott
Renee Whitney
Warren William
Pat Wing
Donald Woods

Lloyd Hughes, 616 Taft Bldg.. Hollywood. Calif.

Harold Lloyd, 6640 Santa Monica Blvd., Hollywood,

Calif.

Neil Hamilton, 9015 Rosewood Ave., Los Angeles,

Calif.

Photoplay Magazine for February, 1934

Screen Memories From Photoplay

15 Years

Ago

GEORGE M. COHAN, the-
atrical genius, approached
Photoplay's interviewer (in mid-
winter, mind you) bedecked in
heavy overcoat and straw bon-
net. And, of all things, made
this statement: "It's up to you!
Write what you think I ought to
say and I'll stand for it — every
word!" And he really meant it.

About Colleen Moore, then
Kathleen Morrison, we said that
if there's any superstition con-
cerning different colored eyes
(one of Colleen's appeared blue, the other
brown), it's that the person possessing them
is sure to succeed.

In an interview with John Barrymore, we
described him as "the most commonplace son
of fortune who ever lived. One of the few
members of his profession who would never be
taken for an actor." We marveled at his utter
absence of affectation.

We were convinced that the third cycle of

John
Barrymore

motion picture history had closed
and that we stood on the thresh-
hold of the fourth

The fust period was the pio-
neer age. The second, the period
of achievement — of world-wide
recognition that the motion pic-
ture is not a "hoodlum toy," but
a colossal scientific triumph of
human expression. The third
period was the film's wild golden
age — the age of limitless expense
and stupendous salaries. We
were happy indeed to be living
in the fourth cycle, when the motion picture
must triumph as the most human of the arts.
An especially popular lady of the day was
Geraldine Farrar, whose life story began in this
issue. Such a favorite was she, that we also
used her portrait on the cover.

The outstanding films of the month were D.
W. Griffith's "The Greatest Thing in Life,"
with Lillian Gish, and Lois Weber's "Borrowed
Clothes," with Mildred Harris.

10 Years Ago

WHAT Kind of Women At-
tract Men Most?" That
question was propounded thor-
oughly in our February, 1924,
issue. The answer seemed un-
mistakably to be, "Women who
possess a marked degree of per-
sonal magnetism, the quality that
makes one woman stand out in a
crowd. That is what stimulates
an unconscious interest in men."

We advised "very man, woman
and child" to see Cecil B. De-
Mille's latest production, "The
Ten Commandments." In our review of the
film, we called it "The best photoplay ever
made. The greatest theatrical spectacle in
history — the work of genius."

Part I of Pola Negri's autobiography appear-
ed in this issue. Her real name is Appolonia
Chalupec. When she went on the stage in
1913, she used the surname of Ada Negri,
Italian poetess, and the diminutive of Appo-
lonia, Pola.

Pola
Negri

In an absorbing chapter of
"The Romantic History of the
Motion Picture," Terry Ram-
,'saye recorded many startling
events hitherto unknown to the
movie public.

Our gossip columns revealed
that the lovely Gloria Swanson
was suffering from a case of
"Klieg eyes." She was stricken
while filming "The Humming
Bird."

Doug Fairbanks, Jr., aboard
when the Twentieth Century
Limited was wrecked, helped doctors with
bandages, dressings, and was of great assist-
ance generally. They didn't know who the lad
was until it was all over. We said Doug, Jr.,
just fourteen, was the sort we liked to think
of as the "typical" American boy.

Of Elinor Glyn's "Three Weeks," Photoplay
commented: "Camera work done, the film is
being edited and cut. Then — the censors!"
On the cover — Corinne Griffith.

5 Years Ago

TX OUR issue of February, 1929,
■'■we told of the meeting of John
Barrymore and Dolores Costello.
And described in detail their wed-
ding, which had just taken place.

We said of Nils Asther, "Be-
cause he is one of the coming
young men of the screen, Photo-
play presents his story. Asther
studied with a great actor named
Hertel, in Copenhagen. When j^jjs

sixteen, Nils met Mauritz Stiller, Asther

who gave him the leading role in
his current screen production."

There was an article aptly titled, "The Hot
Baby of Hollywood, otherwise Lupe Velez."
When this fiery Mexican miss was most inter-
ested in giving theatricals for her sisters and
the servants, she was shipped off to a convent.
Later, family finances were low, and Lupe, de-
ciding to do something about it, made her way
to Hollywood and film fame.

A photo of Mary Pickford showed her hair
cut quite closely at the back — a new fashion

of the day. The shingle bob, as
we saw it in Mary's first talkie,
"Coquette."

Weddings we reported were:
Evelyn Brent and Harry Ed-
wards, film director. "Bubbles"
Steiffel (Betsy Lee) and Reginald
Denny.

All was changed then. B. T.
(before talkies) it was customary
to see a group of bridge enthus-
iasts in one corner, someone
snoozing in another, and some-
one else reading the latest thriller,
between scenes. But when talkies came in.
everyone was constantly on the hop.

Eddie Nugent reported "a terrible murder
afoot." He'd heard talk about making "The
Last of Mrs. Cheyney."

Of "In Old Arizona," the first outdoor
talkie to be made, we said, "The Fox Movie-
toners have learned how to blend sound, con-
versation, laughter and music to produce
dramatic effects."

Loretta Young and Spencer Tracy in a scene from
the Columbia picture "A Man's Castle"

NEW BEAUTY
of skin and
complexion

CAN BE YOURS

When people look at you, what do they
see? A clear, smooth, vibrant skin? Or
a skin that's dull and muddy, marred per-
haps by ugly spots and blemishes?

New skin beauty can be yours! A remark-
able corrective food is helping thousands to
get and keep the charm of a lovely skin.

Skin troubles indicate a disordered con-
dition of your system — usually constipation
or a run-down nervous state. Both of these
common ailments are frequently caused by
the shortage of vitamins B and G in the aver-
age diet. To correct this shortage you need a
food super-rich in these essential elements.

Yeast Foam Tablets supply these precious
substances in great abundance. They are
nothing but pure, scientifically pasteurized
yeast — and pure yeast is the richest known
food source of the vitamins B and G. These
tablets strengthen the digestive and in-
testinal organs, give tone and vigor to your
nervous system. With the true causes of
your trouble corrected, you enjoy new health
and new beauty. Eruptions and blemishes go.
Your complexion becomes clear and glowing.
Your skin is again smooth and lovable.

Any druggist will supply you with Yeast
Foam Tablets. The 10-day bottle costs
only 50c. Get one today.

YEAST FOAM TABLETS

FREE: MAIL THIS COUPON TODAY

NORTHWESTERN YEAST CO. P-t

l/.)0 North Ashland Ave., Chicago, 111.

Please send free sample and descriptive circular.

Name

Address

City State.

Who's in the Dog House Now?

CONTINUED FROM PAGE 73

and then he wisecracks his way out. Jack also
manages to remain pretty steadily in a sub-
rosa dog house, so far as his fellow actors are
concerned, by the highly unpopular device of
stealing scenes from them.

As one sufferer remarked, "Oakie would 'back
up' on his own mother." And backing-up,or
covering the other players in a scene, is an
unforgivable offense — to another actor. All
the audience sees in the situation is a lot more
of Oakie!

SALLY Eilers married herself a new husband,
and moved in the dog house almost simul-
taneously. She was scheduled to make" Jimmy
and Sally" for Fox, with Jimmy Dunn. Sally
didn't like the story, so out she walked. Maybe
the fact that she wanted to make a picture
under the supervision of her new husband,
Harry Joe Brown, at Paramount, influenced
her a trifle. Anyway, that is exactly what she
is doing.

Amicable relations, however, have been re-
sumed with Fox, and all is sweetness and light.

Sometimes, the dog house is a portable estab-
lishment. Wally Beery once took it with him
up to the middle of June Lake in the High
Sierras, and a charming spot it was for a dog
house.

Wally's option came up and he wanted the
advance of $500 a week, that it called for.

The depression was on, and M-G-M said
no!

They'd renew at the old figure. Then Wally
happened to see an Eskimo umyak, a little
canoe. \V. S. Van Dyke had brought it back
with him from Alaska.

It looked as if things were going to remain at
loggerheads, and Wally was about ready to give
in — but not for nothing.

He apparently forgot to be the business man
in his boyish enthusiasm over the funny little
boat. For he agreed to settle the dispute and
come back at his old salary — if they would give
him the umyak!

The umyak was worth about five dollars.

So Wally forthwith moved out of the dog
house — into an Eskimo canoe.

But Wally's most spectacular sojourn in the
dog house occurred around Christmas time in
1931. He flatly refused to play the German
manufacturer in "Grand Hotel." For three
weeks, he remained incommunicado at his
home. Telegrams three pages long were dis-
patched to him — since he refused to answer the
telephone.

Finally a telegram arrived telling him that
M-G-M would take immediate action in the
courts. Wally ignored that, too.

THEN Irving Thalberg, that master of diplo-
macy, sent him a wire. It was a warm,
friendly message, in which Thalberg recounted
the number of years he and Wally had been
pals — he mentioned the holiday spirit, and in
the friendliest fashion, asked Wally to please
come to the studio and talk it over.

That turned the trick. Wally was touched,
for he is genuinely fond of Thalberg. So Mr.
Beery came out of the dog house — and played
the part.

Margaret Sullavan, the girl who has been
projected to stardom on the strength of one
performance in "Only Yesterday," has built
her own dog house and is trying her darndest to
stay in it, with Universal attempting desper-
ately to keep her out.

The girl, who had an unparalleled oppor-
tunity handed her on a silver platter, has
pulled at cross purposes with the studio ever
since her arrival in Hollywood. She was given
a salary of $1,250 a week, and an opportunity
seldom equalled. But with the picture half
completed, she had a run in with John Stahl,

122

the director, stalked off the lot, and the studio
caught her just on the verge of boarding a plane
for New York.

This girl is hard to figure, except that she
suffers from a strange inferiority complex. In
New York, she flatly turned down interviewers,
and refused to admit that she was good in
"Only Yesterday." But she's back in Holly-
wood now, hard at work — and keeping one eye
on the dog house.

George Brent, according to many, is suffer-
ing with wife-advice, which has kept him in the
pooch-kennel pretty consistently. He had his
contract with Warners suspended, when he
refused to play two roles — one in "Mandalay"
and one in "Heat Lightning." Also, he de-
mands more salary.

gave
be tied

Wonder Bar."
in because they
up

in another

■^-And the studio
thought she would
production.

Then it developed that she would be finished
in time — so the argument began all over again.
But Kay doesn't care much for the dog house,
so she came back, reluctantly.

Sylvia Sidney shook off the shackles of the
dog house at Paramount a while back, when
she walked out of the Chevalier picture, "The
Way to Love," and went to Europe. A throat
affliction endangered her health, according to
Sylvia.

The studio maintained they had asked noth-
ing unreasonable of her. Besides they couldn't
see how it would benefit the sore throat to take
it to Europe.

Ann Dvorak played the vacated part, Syl-

June Gale and her "steady," Hoot
Gibson, were photographed at the
opening of "Roman Scandals." Isn't
that metallic costume June is wearing
sophisticated and Oriental-looking?

via came home in due time, and an armistice
was declared by all concerned.

Charles Farrell had a long-term lease on his
own private canine kennel, for declining to re-
sign with Fox. He wanted to be starred in his
own right. For almost a year after, Charlie
was given a nice, long vacation, during which
he had a grand time playing polo, and almost
forgot there was such a business as moving
pictures. He has broken the jinx recently with
"Aggie Appleby" and "Girl Without a Room."

And he's now scheduled to do another pic-
ture with Janet Gaynor.

Jack Gilbert is another who recently ob-
tained release from a long incarceration in the
durance vile colloquially known as the dog
house.

We have called him "poor Jack" for the last
time, however. When you see "Queen Chris-
tina," you'll know why.

Conway Tearle is practically the original
dog house-keeper. He will confess with engag-
ing frankness that he deserved it. In the days
when he was " tops," Conway grew too big for
his hat — and found himself ostracized from all
studios in Hollywood.

A FTER that, he hit the bumps — hard ones.
•*V\ year or so ago, he staged his remarkable
comeback on the New York stage in " Dinner
at Eight," playing the broken-down actor fight-
ing to keep up a front.

His lesson dearly bought, Conway has
returned to the scene of his former triumphs
and defeats — to be signed by M-G-M.

Tearle is out of the kennel for good — and
glad of it.

Bing Crosby fights for good stories and finds
himself frequently occupying a small dog
house for a short time. Dick Arlen likewise
put up an argument for bigger and better
characterizations — he was tired of playing dull
people.

But Dick has really been in the dog house in
a big way, with only one official on his home lot.

Dick took Joby Ralston Aden's old dressing-
room, when he went to work regularly at Para-
mount, several years ago. It is number thir-
teen, and Dick is very fond of it — and very
superstitious about it.

Later on, when more dressing rooms were
added, Fred Datig wanted to change the num-
ber.

The usually tractable Richard fought like a
panther. Change his good-luck number? Over
his dead body!

But, reasoned Datig, it doesn't make sense
to have number seven, and then thirteen, and
then go on to eight.

THE situation reached fever-heat — finally
both contestants gave in. Datig got the
number he wanted on the outside door — but
every inside door of the three-room suite has a
large thirteen painted on it.

Jimmy Cagney, George Raft, Dietrich and
Von Sternberg, Constance Bennett, are among
the many others who have languished for one
reason or another in the rarified atmosphere of
the pooch-pen.

Stories and salaries are the most frequent
reasons for talking back and being excused
from the room for a while — until everybody
cools off.

Of course, Garbo is the exception. She
nearly always is.

The great Greta turned the tables— and put
the whole picture business in her own private
dog house.

But they always come back — because ^dog
houses are lonely, the publicity service isn't so
good. And what is most unendurable of all —
in most cases, dog house inhabitants don't get
paid!

Photoplay Magazine for February, 1934

Hollywood Fashions

by Seymour

Here is a list of the representative stores at which faithful copies of the smart styles
shown this month can be purchased. Shop at or write the nearest store for complete
information.

I23

ALABAMA—
Loveman, Joseph & Loeb,
birmingham.
ARKANSAS-
pollock's,

fayette ville.
Pollock's,

fort smith.
The M. M. Cohn Company,

LITTLE ROCK.

CALIFORNIA—
J. W. Robinson Company,

LOS ANGELES.

The H. C. Capwell Company,

OAKLAND.

Hale Brothers, Inc.,

sacramento.
The Emporium,

san francisco.

COLORADO—
The Denver Dry Goods Company,

DENVER.

CONNECTICUT—
The Manhattan Shop,
hartford.

DELAWARE-
ARTHUR'S Apparel Shop, Inc.,

WILMINGTON.

DISTRICT OF COLUMBIA—
Lansburgh & Brother,
washington.

FLORIDA-
RUTLAND Brothers,

ST. PETERSBURG.

IDAHO—
The Mode, Ltd.,

BOISE.

ILLINOIS-
MARSHALL Field & Company,

CHICAGO.

C. E. Burns Company,

DECATUR.

Clarke & Company,

PEORIA.

S. A. Barker Company,

SPRINGFIELD.

INDIANA-
RAYMOND Cooper, Inc.,

INDIANAPOLIS.

IOWA—
M. L. Parker Company,

davenport.
Younker Brothers, Inc.,

des moines.
J. F. Stampfer Company,

DUBUQUE.

MAINE—
B. Peck Company,
lewiston.
MARYLAND—
Hochschild, Kohn & Company,
baltimore.
MASSACHUSETTS-
JORDAN Marsh Company,

boston.
Forbes & Wallace, Inc.,
springfield.
MICHIGAN—
Wm. Goodyear & Company,

ANN arbor.
Seaman's, Inc.,

battle creek.
The J. L. Hudson Company,

DETROIT.

Gilmore Brothers,
kalamazoo.

MINNESOTA—

The Dayton Company,

minneapolis.

MISSOURI—

Stix, Baer & Fuller Company,
saint louis.

NEBRASKA—

Orkin Brothers,

LINCOLN.

NEW JERSEY—
Hahxe & Company,

NEWARK.

NEW YORK—
Kalet's,

auburn.
Abraham & Straus,

brooklyn.
The Parisian, Inc.,

ITHACA.

Bloomingdale's,

new york city.
H. S. Barney Company,

schenectady.
Flah & Company,

syracuse.
D. Price & Company,

utica.

NORTH CAROLINA—
J. B. Ivey & Company
charlotte.

OHIO—

The A. Polsky Company,

AKRON.

The Mabley and Carew Co.,

cincinnati.
The Higbie Company,

cleveland.
The Morehouse-Martens Company,

columbus.
The Rike-Kumler Co.,

DAYTON.

The Strouss-Hirschberg Company,
youngstown.

OKLAHOMA-
POLLOCK'S,

MCALESTER.

PENNSYLVANIA-
ERIE Dry Goods Company,

ERIE.

Bowman & Company,

harrisburg.
Joseph Horne Company,

pittsburgh.
Worth's, Inc.,

YORK.

TEXAS-
LEVY Brothers Dry Goods Company,

HOUSTON.

The Wolff & Marx Company,
san antonio.

UTAH—
Zion's Co-operative Mercantile Insti-
tution,
salt lake city.

WISCONSIN-
STUART'S,

milwaukee.
Racine Cloak Co.,

RACINE

WEST VIRGINIA—

Coyle & Richardson, Inc.,
charleston.

Here is The SECRET

says

lUf UUfUl

MOON GLOW

NAIL POLISH
beautifies Your Hands

YOU will be delighted with the smartness of your hands when
you beautify them with MOON GLOW Nail Polish. Keep
on your shelf all of the five MOON GLOW shades — Natural,
Medium, Rose, Platinum Pearl and Carmine.

If you paid $1 you couldn't get finer nail polish than MOON
GLOW — the new Hollywood favorite. Ask your 10c store
for the 10c size or your drug store for the 25c size of MOON
GLOW Nail Polish in all shades. If they cannot supply you,
fill in the coupon below and mail today.

Moon Glow Cosmetic Co., Ltd., Hollywood, Calif.

Gentlemen: Please send me introductory package of Moon
Glow. 1 enclose 10c (coin or stamps) for each shade
checked. ( ) Natural ( ) Medium ( ) Rose
( ) Platinum Pearl ( ) Carmine.

Name

St. 6? No

City State (P-A2)

YOU WANT CLASS PINS-we have them—
any letters, any year, any colore. Silver
plated, 1 to 11, 35c ea; gold plated. 45c ea;
sterling, 50c ea. Silver plated, 12 or more,
30c ea; gold plated, 40c ea; sterling, 45c ea
Sterling silver rings as shown, 1 or more
$1.60 ea. Write For Free Catalogue,

| Metal ArtsCo.Jnc. Factory 58 Rochester.N.V

Women!

End Worry and
Uncertainty

PAI&0°O°€EN

Feminine Hygiene Tablets

PAR-I-O-GEN is a tested, scientific formula, which provides
safe, convenient, immediate hygienic protection Women
everywhere have been quick to recognize and accept it as a
welcome innovation in acquiring antiseptic cleanliness.

NO WATER REQUIRED

PAR-I-O-GEN tablets dissolve in the natural secretions
forming a strong chlorine solution which destroys genrsin a
few moments. Yet, unlike poisonous, burning acid solutions,
they are soothing and harmless to the most delicate tissues.
No water or other accessories are needed. Odorless, stainless,
greaseless.

Send for Trial Box ! So you may try this modern feminine
necessity, we offer a special trial box of yy RITE FOR

five tablets, conveniently packaged for
travel or home use, with FREE booklet
on their need and use, for only
fifty cents (stamps or coin),
postpaid. Try them once and/
you will never be without them.V

American Drug and Chemical Co,
420 So. 6th St., Minneapolis, Mil

I enclose 5Uc for a trial box of five
PAR-I-O-GEN tablets with instructions,
in plain wrapper.

Name. . .
Address.

Casts of Current Photoplays

Complete for every picture reviewed in this issue

"ADVICE TO THE LOVELORN"— 20th Cen-
tury-United Artists. — From the novel by Na-
thaniel West. Adapted by Leonard Prasldns.
Directed by Alfred Werlcer. The cast: Toby Pren-
tiss, Lee Tracy; Louise Boley, Sally Blane; Benny,
Sterling Holloway; Mrs. Prentiss, Jean Adair;
Gaskell, Paul Harvey; Richards, Advertising Manager,
Matt Briggs; Circulation Manager, Charles Levinson;
Miss Curtis, Adalyn Doyle; Kranz, C. Henry Gordon;
Rose, Isabel Jewell; Cora, Judith Wood; Horace,
Etienne Girardot; Miss Howell, Ruth Fallows; Miss
Lonelyhearls, May Boley.

"ALICE IN WONDERLAND"— Paramount —
F'rom the story by Lewis Carroll. Screen play by
Joseph L. Mankiewicz and William Cameron Men-
zies. Directed by Norman McLeod. The cast:
Alice, Charlotte Henry; The Cheshire Cat, Richard
Arlen; The Fish, Rosco Ates; The Gryphon, William
Austin; White Pawn, Billy Barty; The Baby, Billy
Barty; Two of Spades, Billy Bevan; Garden Frog,
Colin Campbell; Father William, Harvey Clark; The
White Knight, Gary Cooper; Leg of Mutton, Jack
Duffy; 1st Executioner, Harry Ekezian; Uncle Gd-
bert, Leon Errol; The White Queen, Louise Fazenda;
llumply Damply. W. C. Fields; The King of Hearts,
Alec B. Francis; The White Rabbit, "Skeets" Galla-
gher; 3rd Executioner, Meyer Grace; The Mock Turtle,
Cary Grant; Governess, Ethel GrifKes; The Cook,
Lillian Harmer; The Mouse, Raymond Hatton; The
Frog, Sterling Holloway; The Mad Halter, Edward
Everett Horton; Tweedledee, Roscoe Karns; The
Clock, Colin Kenny; Joker, Baby LeRoy; Father
William's Son, Lucien Littlefield; The Sheep, Mae
Marsh; Five of Spades, Charles McNaughton; The
Dodo Bird, Polly Moran; Tweedledum, Jack Oakie;
The Aunt, Patsy O'Byrne; The Red Queen, Edna May
Oliver; Plum Pudding, George Ovey; The Queen of
Hearts, May Robson; The March Hare, Charlie
Ruggles; Dormouse, Jackie Searl; The Duchess,
Alison Skipworth; The Caterpillar, Ned Sparks;
Seven of Spades, Will Stanton; The White King,
Ford Sterling; 2nd Executioner, Joe Torrillo; Alice's
Sister, Jacqueline Wells.

"AS HUSBANDS GO"— Fox.— From the play
by Rachel Crothers. Screen play by Sonya Levien.
Directed by Hamilton MacFadden. The cast: Charles
Lingard, Warner Baxter; Hippolilus Lomi, Warner
Oland; Lucille Lingard, Helen Vinson; Emmie Sykes,
Catherine Doucet; Ronald Derbyshire, G. P. Hunt-
ley, Jr.; Jake Canon, Frank O'Connor; Peggy Sykes,
Eleanor Lynn; Wilbur, Jay Ward.

"BELOVED" — Universal.— From the screen
play by Paul Gangelin. Directed by Victor Schert-
zinger. The cast: Carl Hausmann, John Boles;
Lucy Hausmann, Gloria Stuart; Baron Von Haus-
mann, Albert Conti; Baroness Von Hausmann,
Dorothy Peterson; Eric, Morgan Farley; Patricia,
Ruth Hall; Rounlree, Anderson Lawlor; Major Tar-
rant, Edmund Breese; Mrs. Tarrant, Louise Carter;
Carl (age 10), Lester Lee; Tommy, Mickey Rooney;
Lord Landslake, Holmes Herbert; Judge Belden,
Richard Carle; The Duchess, Lucille Gleason; Marie,
Mae Busch; Mrs. Briggs, Lucille La Verne; Mrs.
O'Leary, Mary Gordon; Charles, Eddie Woods;
Henry Burrows, Oscar Apfel; Helen Burrows, Jane
Mercer; Yates, Wallis Clark; Revolutionist Leader,
Josef Swickard; Wilcox, James Flavin; Mrs. Watkins,
Bessie Barriscale; The Dancer, Bobbe Arnst; Charles
(as a boy), Jimmy Butler; Midvaney, Fred Kelsey ; Mr.
Dietrich, Otto Hoffman; Eric (as a boy), George
Ernest; Doctor, Cosmo Kyrle Bellew; Second Doctor,
King Baggot; Tom (as a boy), Sherwood Bailey; Jew-
ish Father, William Straus; Laurrlte, Neysa Nourse;
Alice, Peggy Terry; Miss Murfee, Clara Blandick;
Countess von Brandenburg, Margaret Mann.

"BIG SHAKEDOWN, THE"— First National.
— From the story by Sam Engles. Screen play by
Rian James. Directed by John Francis Dillon.
The cast: Jimmy Morrell, Charles Farrell; Norma,
Bette Davis; Barnes, Ricardo Cortez; Lil, Glenda
Farrell; Lefty, Allen Jenkins; John, Philip Favers-
liam; Trigger, Adrian Morris; Sheffner, Frank
Reicher; Gyp, George Pat Collins; Slim, Dewey
Robinson; Spike, Ben Hendricks; Short, George
Cooper; Regan, Robert Emmett O'Connor; Gardi-
■nelli, Harold Huber.

"BIG TIME OR BUST"— Tower Prod.— From
the stage play "Excess Baggage." Dialogue by
George Wallace Sayre. Directed by Sam Neufeld.
The cast: Jimmy Kane, Regis Toomey; Betty
Roberts, Gloria Shea; John Hammond, Walter Byron;
Wiuthrop Allen, Edwin Maxwell; Paddy Melon,
Charles Delaney; Louie, Paul Porcasi; Lew Feld,
Nat Carr.

"BOMBAY MAIL"— Universal.— From the
story by L.G. Blochman. Screen play by L. G. Bloch-
man. Directed by Edwin L. Marin. The cast:
Inspector Dyke, Edmund Lowe; Beatrice Jones, Shir-
ley Grey; John Hawley, Onslow Stevens; William
Luke-Palson, Ralph Forbes; Xavier, John Davidson;
Lady Daniels, Hedda Hopper; Civil Surgeon, Tom
Moore; Martini, John Wray; Pundit Chundra,
Brandon Hurst; Capt. Gerald Worthing, Jameson
Thomas; Sir Antlwny Daniels, Ferdinand Gott-

schalk; Dr. Maurice Lenoir, George Renavent;
Cuthberl Neal, Garry Owen; Burgess, Huntly Gordon;
Edward Breeze, Herbert Corthell; Maharajah of
Zungore, Walter Armitage; Anderson, Douglas Ger-
rard; Collins, Harry Allen.

" BY CANDLELIGHT "—Universal. — From
the play by Seigfried Geyer. Adapted by F. Hugh
Herbert and Hans Kraly. Directed by James
Whale. The cast: Marie, Elissa Landi; Josef, Paul
Lukas; Count Von Rommer, Nils Asther; Countess
Von Rischenheim, Dorothy Revier; Count Von
Rischenheim, Lawrence Grant; Baroness Von Ballin
(Louise), Esther Ralston; Baron Von Ballin, War-
burton Gamble; Ann, Lois January.

"CONVENTION CITY"— First National.—
From the story by Peter Milne. Screen play by
Robert Lord. Directed by Archie Mayo. The cast:
Nancy Lorraine, Joan Blondell; Kent, Adolphe
Menjou; Jerry Ford, Dick Powell; Arlene Dale,
Mary Astor; George Ellerbe, Guy Kibbee; Will
Goodwin, Frank McHugh; Claire Honeywell, Pa-
tricia Ellis; Mrs. Elhrbe, Ruth Donnelly; Hotsleller,
Hugh Herbert; J. B. Honeywell, Grant Mitchell;
Orchard, Hobart Cavanaugh; Mrs. Kent, Sheila
Terry; Phil Lorraine, Gordon Westcott; Lulu, Bar-
bara Rogers; Graham, Harry C. Bradley; Hadley,
Douglas Dumbrille; Clerk, Lorin Raker; McAllister,
Samuel Hinds; Customer, William Burress; Mrs.
Orchard, Virginia Howell; Zorb, Egon Brecher;
Travis, Johnny Arthur; Bootlegger, Huey White.

"COUNSELLOR-AT-LAW" — Universal. —
From the play by Elmer Rice. Screen play by Elmer
Rice. Directed by William Wyler. The cast:
George Simon, John Barrymore; Regina Gordon,
Bebe Daniels; Cora Simon, Doris Kenyon; John P.
Tedesco, Onslow Stevens; Bessie Green, Isabel Jewell;
Roy Darwin, Melvyn Douglas; Lillian LaRue, Thel-
ma Todd; Zedorah Chapman, Mayo Methot; Herbert
Howard Weinberg, Marvin Kline; Arthur Sandler,
Conway Washburn; Breitstein, John Qualen; Henry
Susskind, Bobby Gordon; McFadden, John Ham-
mond Dailey; Sarah Becker, Malka Kornstein; Goldie
Rindskopf, Angela Jacobs; Lena Simon, Clara Langs-
ner; Peter J . Malone, T. H. Manning; Francis Clark
Baird, Elmer Brown; Dorothy, Barbara Perry; Rich-
ard, Richard Quine; David Simon, Victor Adams;
Gray field, Frederick Burton; Harry Becker, Vincent
Sherman.

"DANCING LADY"— M-G-N.— From the story
by James Warner Bellah. Screen play by Allen
Rivkin and P. J. Wolfson. Directed by Robert Z.
Leonard. The cast: Janie, Joan Crawford; Patch
Gallegher, Clark Gable; Tod Newton, Franchot Tone;
Mrs. Newton, May Robson; Rosette, Winnie Lightner;
Fred Astaire, Fred Astaire; Ward King, Robert
Benchley; Steve, Ted Healy; Vivian Warner, Gloria
Foy; Art, Art Jarrett; Bradley, Sr., Grant Mitchell;
Bradley, Jr., Maynard Holmes; Nelson Eddy, Nelson
Eddy; Stooges, Moe Howard, Jerry Howard, Larry
Fine; Author, Sterling Holloway.

"DARK HAZARD "—First National.— From
the story by W. R. Burnett. Screen play by Brown
Holmes and Ralph Block. Directed by Alfred E.
Green. The cast: Jim Turner, Edward G. Robin-
son; Marge, Genevieve Tobin; Valerie, Glenda Far-
rell; Tex, Robert Barrat; Joe, Gordon Westcott;
George, Hobart Cavanaugh; Bright, Sidney Toler;
Pres Barrow, George Meeker; Mrs. Mayhew, Emma
Dunn; Fallen, Williard Robertson; Schutz, Henry B.
Walthall; Miss Dolby, Barbara Rogers; Plumber,
William V. Mong; "Soapy" Sam Lambert, George
Chandler.

"EAST OF FIFTH AVENUE"— Columbia.—
From the story by Lew Levenson. Screen play by
Jo Swerling. Directed by Albert Rogell. The cast:
Vic, Wallace Ford; Kitty, Dorothy Tree; Edna,
Mary Carlisle; Lawlon, Walter Connolly; Baxter,
Walter Byron; Gardner, Lucien Littlefield; Dr. Mor-
gan, Willard Robertson; Mrs. Lawlon, Louise Carter;
Mrs. Conway, Maude Eburne; Cronin, Harry Hol-
man; Lizzie, Fern Emmett; Rosie, Bradley Page;
Miss Smylhe, Kate Campbell.

"EASY MILLIONS"— Freuler Film.— From
the story by Edgar Franklin. Adapted by Jack
Jevne. Directed by Fred Newmeyer. The cast:
John Harley, Richard "Skeets" Gallagher; Harry
Wolcolt, Johnny Arthur; Helen Stephens, Merna
Kennedy; Althea Wicks, Dorothy Burgess; John D.
Wicks, Noah Beery; Mildred Ames, Gay Seabrook;
Betty Kenningham, Pauline Garon; Aunt Faith Har-
ley, Ethel Wales; Dr. Fosdyck, Arthur Hoyt; Wilbur
Alderslon, Bert Roach; William Potter, Walter Long;
Simon BraiJed, Henry Rocquemore; Link, Theodore
Adams.

"EAT 'EM ALIVE"— Real Life Pictures. —
Directed by Harold Austin. Photographed by Jay
Turner.

"FAREWELL TO LOVE" — Associated Sound
Film. — From the German film "Die Singende Stadt."
Directed by Carmine Gallone. The cast: Giovanni
Gavalloni, Jan Kiepura; Claire Winter, Betty Stock-
field; Hon. Roddy Fielding, Hugh Wakefield; Car-

mela, Heather Angel; John Barlow, Philip Easton;
Chi, Francesco Maldaccea.

"FRONTIER MARSHAL"— Fox.— From the
novel by Stuart N. Lake. Screen play by William
Conselman and Stuart Anthony. Directed by Lew
Seiler. The cast: Michael Wyatl, George O'Brien;
Mary Reid, Irene Bentley; Abe Ruskin, George E.
Stone; "Doc" Warren, Alan Edwards; Queenie La-
Vere, Ruth Gillette; Hiram Melton, Berton Churchill;
Oscar Reid, Frank Conroy; Ben Mirchison, Ward
Bond; Judge Walters, Edward LeSaint; Editor
Pickett, Russell Simpson; Jerome, Jerry Foster.

"GALLANT LADY"— 20th Century-United
Artists. — From the story by Gilbert Emery and
Douglas Doty. Screen play by Sam Mintz. Directed
by Gregory La Cava. The cast: Sally, Ann Hard-
ing; Dan, Clive Brook; Phillip Lawrence, Otto
Kruger; Mario, Tullio Carminati; Deedy, Dickie
Moore; Maria, Janet Beecher; Cynthia, Betty Law-
ford; Mrs. Lawrence, Ivy Merton; Aunt, Theresa
Maxwell Conover; Nurse, Adrienne D'Ambricourt;
Butler, Charles Coleman.

"GIRL WITHOUT A ROOM "—Paramount —
From the story by Jack Lait. Screen play by Frank
Butler and Claude Binyon. Directed by Ralph
Murphy. The cast: Tom Duncan, Charles Farrell;
Vergil Crock, Charlie Ruggles; Kay Loring, Mar-
guerite Churchill; Nada, Grace Bradley; General,
Gregory Ratoff; Arthur Copeland, Walter Woolf;
Trotsky, Leonid Snegoff; Walksky, Mischa Auer;
Gallopsky, Leonid Kinsky; Sitsky, Alex Melesh;
l'urre, August Tollaire; Henri, Adrian Rosley;
De Bergerac, Perry Ivans; Art Judge, William P.
Colvin; Street Singer, Sam Ash.

"HE COULDN'T TAKE IT"— Monogram.—
From the story by Dore Schary. Screen play by
Dore Schary and George Waggner. Directed by
William Nigh. The cast: Jimmy Case, Ray Walker;
Eleanor Rogers, Virginia Cherrill; Sammy Kohn,
George E. Stone; Sweet Sue, Stanley Fields; Grace
Clarice, Dorothy Granger; Mrs. Case, Jane Darwell;
Nick, Paul Porcasi; Oakley, Donald Douglas; Blonde,
Astrid Allwyn; Radio Announcer, Franklin Parker;
Driscoll, Jack Kennedy.

"HER SPLENDID FOLLY "—Hollywood
Pictures. — From the story by Beulah Poynter.
Directed by William O'Connor. The cast: Joan
McAllister, Lilian Bond; Laura Gerard, Lilian Bond;
Solomon Ginsberg, Alexander Carr; Wallace Morley,
Theodore Von Eltz; Paul de Silva, Lloyd Whitlock;
Mrs. McAllister, Beryl Mercer; Charlie Hemingway,
Frank Glendon; Sally Lee, Roberta Gale; Ana-
stasia, Frances Lee.

"HOLD THE PRESS"— Columbia.— From the
story by Horace McCoy. Directed by Phil Rosen.
The cast: Tim Collins, Tim McCoy; Edith While,
Shirley Grey; Abbott, Wheeler Oakman; Frankie
While, Henry Wadsworth; Bishop, Oscar Apfel;
Sereno, Bradley Page; Abbott's Secretary, Jack Long;
Taylor, Samuel Hinds.

"HORSE PLAY" — Universal. — From the story
by Edward Sedgwick and Ebba Havez. Screen play
by H. M. Walker and Clarence Marks. Directed by
Edward Sedgwick. The cast: Slim Perkins, Slim
Summerville; Andy, Andy Devine; Angelica Wayne,
Leila Hyams; The Duchess, May Beatty; dementia,
Una O'Connor; Uncle Percy, David Torrence; Philip
Marley, Cornelius Keefe; Oswald, Ferdinand Gott-
schalk; Emily, Ethel Griffies.

"IF I WERE FREE"— RKO- Radio.— From the
play "Behold, We Live" by John Van Druten.
Screen play by Dwight Taylor. Directed by Elliott
Nugent. The cast: Sarah Cazenove, Irene Dunne;
Gordon Evers, Clive Brook; 7"ono Cazenove, Nils
Asther; Hector Stribling, Henry Stephenson; Jewel
Slribling, Vivian Tobin; Dame Evers, Laura Hope
Crews; Mrs. Gill, Tempe Pigott; Mrs. Evers, Lor-
raine MacLean.

"JIMMY AND SALLY"— Fox.— From the
screen play by Paul Schofield and Marguerite
Roberts. Directed by James Tinling. The cast:
Jimmy, James Dunn; Sally, Claire Trevor; Ralph
Andrews, Harvey Stephens; Pola Wenski, Lya Lys;
E. W. Marlowe, Jed Prouty; Shirley, Gloria Roy;
Mary, Alma Lloyd; Joe, John Arledge.

"LADY KILLER" — Warners. — From the story
by Rosalind Shaffer. Screen play by Ben Markson
and Lillie Hayward. Directed by Roy Del Ruth.
The cast: Dan, James Cagney; Myra, Mae Clarke;
Duke, Leslie Fenton; Lois, Margaret Lindsay;
Ramick, Henry O'Neill; Conroy, Willard Robertson;
Jones, Douglas Cosgrove; Pete, Raymond Hatton;
Smiley, Russell Hopton; The Escort, George Black-
wood; Williams, William Davidson; Mrs. Marley,
Marjorie Gateson; Brannigan, Robert Elliott; Ken-
dall, John Marston; Spade, Douglas Dumbrille;
Thompson, George Chandler.

"MASTER OF MEN"— Columbia. — From the
story by Chester Erskin and Eugene Solow. Screen

12k

Photoplay Magazine for February, 1934

play by E. E. Paramore, Jr. and Setnn I. Miller.
Directed by Lambert Hillyer. The cast: Buck
Garrett, Jack Holt; Kay Walling, Fay Wray; Gren-
aker, Theodore Von Eltz; Parker, Walter Connolly;
Mr. Walling, Berton Churchill.

"MR. SKITCH"— Fox.— From the story
"Green Dice" by Anne Cameron. Screen play by
Ralph Spence and Sonya Levien. Directed by James
Cruze. The cast: Mr. Skilch, Will Rogers; Mrs.
Skitch, ZaSu Pitts; Emily Skilch, Rochelle Hudson;
Cohen, Harry Green; Harvey Denby, Charles Star-
rett; Flo, Florence Desmond; Cliff Merriweather,
Eugene Pallette.

"RIGHT TO ROMANCE, THE"— Rko- Radio.
— From the story by Myles Connolly. Screen play
by Sidney Buchman and Henry McCarty. Directed
by Alfred Santell. The cast: Peggy, Ann Harding;
Bob Preble, Robert Young; Dr. Heppling, Nils Asther;
Lee Joyce, Sari Maritza; Dr. Beck, Irving Pichel;
Mrs. Preble, Helen Freeman; Bunny, Alden Chase;
Bill, Delmar Watson; The Dcnvager, Louise Carter;
The Boy, Bramwell Fletcher; Eve Lane, Patricia
O'Brien; Mr. Macy, Howard Hickman; Sister Eliza-
beth, Thelma Hardwick.

"ROMAN SCANDALS"— Samuel Goldwyn-
Un'ited Artists. — From the story by George S.
Kaufman and Robert Sherwood. Adapted by Wil-
liam Anthony McGuire. Directed by Frank Tuttle.
The cast: Eddie, Eddie Cantor; Olga, Ruth Etting;
The Princess Sylvia, Gloria Stuart; Josephus, David
Manners; The Empress Agrippa, Verree Teasdale;
The Emperor Valerius, Edward Arnold; Majordomo,
Alan Mowbray; Manius, Jack Rutherford; .4 Slave
Girl, Grace Poggi; Chief of Police, Charles C. Wilson;
Mayor, Harry Holman; Cooper, Willard Robertson;
Kiep, Lee Kohlmar.

"SITTING PRETTY "—Paramount.— From the
story by Nina Wilcox Putnam. Screen play by
Jack McGowan, S. J. Perelman and Lou Breslow.
Directed by Harry Joe Brown. The cast: Chick
Parker, Jack Oakie; Pele Pendleton, Jack Haley;
Dorothy, Ginger Rogers; Gloria DuVal, Thelma Todd;
Tannenbaum, Gregory Ratoff ; Jules Clark, Lew Cody;
Pianist, Harry Revel; Buzz, Jerry Tucker; Song
Publisher, Mack Gordon; Vinton, Hale Hamilton;
George Wilson, Walter Walker; Norman Lubin,
Kenneth Thomson; Director, William Davidson;
Assistant Director, Lee Moran. Also: Pickens
Sisters, Beverly Hill Billies, Art Jarrett, Virginia
Sale.

"SMOKY"— Fox.— From the story by Will
James. Screen play by Stuart Anthony and Paul

Perez. Directed by Eugene Forde. The cast:
Clint, Victor Jory; Betty Jar vis, Irene Bentley; Jeff
Nicks, Frank Campeau; Buck, Hank Mann; Lefty,
Leroy Mason; Junk Man, Leonid Snegoff; Smoky,
Smoky; Narrator, Will James.

"THUNDERING HERD, THE"— Paramount.
— From the story by Zane Grey. Screen play by
Jack Cunningham and Mary Flannery. Directed by
Henry Hathaway. The cast: Tom Doane, Randolph
Scott; Milly Fayre, Judith Allen. Bill Hatch, Larry
(Buster) Crabbe; Randall Jell, Noah Beery; Jude
Pilchuck, Raymond Hatton; Clark Spragne, Harry
Carey; Joe Billings, Monte Blue; Mrs. Jell, Blanche
Fridcrici; Pruilt, Barton MacLane; Andrews, Charles
McMurphy; <>/</ Buffalo Hunter, Buck Connors;
Callee, Al Bridge; Blacksmith, Frank Rice; Middle
Wat, Dick Rush.

"WINE, WOMEN AND SONG"— Monogram.
— From the story by Leon D'Usseau. Directed by
Herbert Brenon. The cast: Frankie Arnelle, Lilyan
Tashman; Morgan Andrews, Lew Cody; Ray J<>y<c,
Matty Kemp; Marylin Arnette, Marjorie Moore;
Jenny Tilson, Bobbe Arnst; Lolly, Esther Muir;
Photographer, Bobby Watson; Don, Paul Gregory.

"WOMAN WHO DARED. THE"— Wm. Berke
Prod. — From the story by C. Edward Roberts, King
Guidice, Robert Webb. Adapted by Curtis Kenyon.
Directed by Millard Webb. The cast: Mickey
Martin, Claudia Dell; Jack Goodwin, Monroe Owsley;
Kay Wilson, Lola Lane; Charlie, Douglas Fowley;
Maywood, Robert Elliott; Montgomery, Herbert
Evans; Scialo, Matty Fain; Jackson, Bryant Wash-
burn; King, Eddie Kane; Mae Compton, Esther
Muir, Phil, Mathew Betz; Louie, Paul Fix; Tom,
Sidney Bracy; Police Captain, Joseph Girard.

"WOMEN IN HIS LIFE, THE" — M-G-
M. — From the screen play by F. Hugh Her-
bert. Directed by George B. Seitz. The cast: Bar-
ringer, Otto Kruger; Simmons, Una Merkel; Roger,
Ben Lyon; Catherine, Isabel Jewell; Lester, Roscoe
Karns; Doris, Irene Hervey; Tony, C. Henry Gordon;
Worthing, Samuel S. Hinds; Mrs. Steele, Irene Frank-
lin; Molly, Muriel Evans; Curly, Raymond Hatton;
Information Girl, Jean Howard; Paul, Paul Hurst.

"YOU MADE ME LOVE YOU"— Majestic
Pictures. — From the adaptation of a modernized
version suggested by "The Taming of the Shrew"
by Stanley Lupino. Directed by Monty Banks.
The cast: Pamela Berne, Thelma Todd; Tom Daley,
Stanley Lupino; Harry Berne, John Loder; Oliver
Berne, James Carew.

Raquel Torres is back on home ground after a sojourn into British pictures.
She played the lead in "The Red Wagon." Since her return Raquel is
being seen very frequently on the arm of Stephen Ames, Adrienne's ex

P^^oks and feels
^oW el woman,

uke VS ^5^S

T~\ON'T let your skin get blotchy — don't
let headaches dull your eyes and fill your
forehead with wrinkles. This very night, give
Dr. Edwards Olive Tablets a trial. For 20
years, they have helped thousands banish un-
sightly blemishes and pimples; have made dull
cheeks bloom again with girlish beauty.

"The internal cosmetic"

An efficient substitute for calomel and much
easier to take, Dr. Edwards Olive Tablets get
at the cause of so many poor complexions.
They help nature restore normal action in
liver and bowels and sweep out deadening
poisons of constipation.

See and feel how this tested compound of
vegetable ingredients can bring back the buoy-
ant joy of health. No griping. Safe and
harmless. Non-habit forming. For listlessness,
sallow skin. Nothing better. 15^, 30c',and60p'.

athome:

Learn easyKoehne Method of color-
ing photos and miniatures in oil. New! No
art talent needed. Rig demand. Send for
" nokfet. Make Monty At Home.
NATIONAL ART SCHOOL
3601 Michigan Ave. Dept. 1252 Chicago

vgS'&StVl

-Mtove"

CrCCOAUfn

Keep your wave lovely for days
longer with the original, superior
DONA Wave-Protector. Me-
dium and large sizes in pastel
colors. Also brown and black. If
not found at Beauty Shop or
Store, use coupon.

FOR NIGHT WEAR

This snugly fitting cap t
fortably under the chin. Skillfull
shaped to give utmost protect
to your wave. Order No. 3'

;:25c

FOR DAY WEAR

A smart wave-protecting turban p rt
for home ».., or a) .port, and hi IP
motoring. Order No. 500. UU"

■-•-COUPON — Send Stamps or Coin

M.m.

c°v-^|

4JJ,... 1

Nam. -I Yn.ir <U„,. 1

DONA MANUFACTURING COMPANY S

an Diego. California |

Cal York's Monthly Broadcast from Hollywood

CONTINUED FROM PAGE 96 j

T\ THEN Marion Da vies wants anything, she
gets it. Marion thought it would be nice
if she had her own private projection room at
M-G-M. So there's one being built in her
dressing bungalow. It's the only one of its
kind in Hollywood.

(^LARK GABLE is quite a Cali-
^^fornia booster. During a mis-
placed warm spell, someone re-
marked, " This is earthquake
weather."

"Oh no," defended Clark, politely,
"it isn't the weather that causes the
earthquakes — it's the earthquakes
that cause the weather!"

Now all he has to do is alibi the
earthquakes!

T\ 7"ELL, sir, you just can't beat the phil-
^^ osophy of Stepin Fetchit, the colored boy
who created such a stir in Hollywood a few
years ago and is now back on the Fox lot for
more work.

"Naw, sir," Stepin says with that slow
drawl of his, "when I was heah in Hollywood
b_'foh you-all white people was insist!?? I save
muh money and puts it away in the bank like
you all done done. 'Stead I bought muhself
some big cars and had a swell time. Oh, I had
a grand time, no mistakin'. And now I comes
back and you-all who puts your money in the
bank done lost it all in the panic and ain't got
none anymore while I had that wonderful time
to remembers. Why you-all ain't even got
that good time to remember. I'm spending
this time, too," he grins.

And there's no argument here. Stepin, alas,
is right!

T^IETRICH was first to appear in feathers,
"^you may remember, when she wore a coque
feather boa in "Shanghai Express." She is
pointed to with pride by Hollywood when any-
one mentions the vogue for feather trimming
that has lately swept the country's cocktail
bars and dance floors.

Now it's plumes, no less, curled ostrich
plumes in decorative bunches on white satin,
that ornament one of her most beauteous gowns
in " Catherine the Great."

Designer Travis Banton admits no Dietrich
picture would be complete without at least one
feather-trimmed gown.

A WRITER was discussing Mae
■**■ Clarke's bad luck with her the
other day. "This year you broke
your jaw," the writer said, "and
wasn't it last year you broke your
neck?"

"Oh no," said plucky little Mae,
"that'll be next year."

"RUNNY that little, wistful, seventeen-year
■^ old Jean Parker should have been chosen by
the very exclusive Katharine Hepburn as one of
her intimates.

The friendship started during the making of
"Little Women."

Jean, by the way, is regarded in Hollywood as
probably the most promising of all the younger
actresses, and no one will even admit that she
is not destined for important triumphs. RKO-
Radio evidenced their faith in her by putting

her in Dorothy Jordan's former role in "Wild
Birds."

T ITTLE Isabel Jewell, Lee Tracy's girl friend,
had a heartbreaking time even getting a toe-
hold in the movies. Nobody, it seems, wanted
little Isabel. And then M-G-M signed her,
after several successful bits, and now just
lookee! About every studio in Hollywood is
fighting for her services.

Don't ask me why, but that's just the way it
is. Motto: If no one wants you, get yourself
signed up somewhere and the whole world will
fight to get you.

A CCORDING to her cameraman, Katharine

Hepburn can change her expression more

times to the minute than any other actress on

the screen. Here is the surprising explanation
Katie gives for her gymnastic features: Her
hair is very fine, snarly and curly. Since she
was a little girl, she has always made faces in
the mirror while her hair was being combed!
She still does, and some of 'em are plenty
weird.

HPHE days of Garbo's supremacy
are numbered.

No longer may Queen Greta stand
unchallenged.

Jean Muir, Warners' new find,
who will play her first lead in "As the
Earth Turns," and whom experts say
is very, very beautiful, takes a num-
ber nine to accommodate her over-
sized gunboats.

The whole movie world has waited for months on end for the first screen
appearance of this lady. She is Anna Sten, the Russian actress, brought
to America to play the lead in "Nana." Rumor says she's a good bet

126

<JnS

an iJratLCLSco

"•fti «

.if^r ■

■**3& - asgm

*"W 'T

If you shop in San Francisco
...visit the Emporium's "Cin-
ema Shop" in January! There
you will find, among many
charming motion picture cos-
tumes sponsored by Photo-
play, this lovely frock worn by
Miriam Hopkins in the new
Paramount play, "All of Me. "

ID IF AS M II O l\ § are Sold ZxcUveLj t¥

One of a distinguished
group .... this splendid Cal-
ifornia institution .... stores of style
leadership in many principal cities which
offer in "Hollywood Fashions" a colorful new
vogue — the radiant costumes of your favorite stars !

PHOTOPLAY MAGAZINE. 9'9 ©V Jfkk9an cf^, Ghk^o, M.

In Association With Wakefield « O'Connor, Inc.

ativauj

AARCH

■

•j

»1

L 25 CENTS

L 30 Cents in Canada

9j[^ ^a&£$-

^Ht v*^S ^Hi :"

fiBf^

MPP^ E^ ■■■ '

L ^>

•mi

NORMA SHEARER

s It G arbo or Hepburn ?

GAYNOR

^fiana

Robert
Henrietta

Richard CROMWELL
• Stepin FETCHIT •

* Mona

BARRIE

DIRECTED BY HENRY KING

SCREEN PLAY BY REGINALD BERKELEY

FROM "THE HOUSE OF CONNELLY" BY PAUL GREEN

Uorious love- story in a setting vibrant with drama. Seven stars,
the season s most illustrious cast, enthrall you as it unfolds. A human, pulsing
romance that will be engraved in your memory for all of 1 (?J4* WW/

Photoplay Magazine for March, 1934

yl/uatas 5k

GIVES THE JAUNTIEST TURN TO A SPORTS HAT . . . IGNORES
HER CLOUDY TEETH . ..HER TENDER GUMS. . . AND SHE HAS ''Pink Tooth BrUSh"!

Can you imagine a girl's taking the trou-
ble to find just the right hat and to give it
just the right tilt— and then strolling off
to a luncheon engagement in a sports coat
all wrinkled from a ride in the rain?

Yet this girl's dingy teeth are just as
conspicuous— and just as disappointing —
as a wrinkled coat would be! They don't
fit in!

Of course she brushes her teeth. As often
and as carefully as you do! But she hasn't
yet learned that if your gums are weak

and flabby and have a tendency to bleed,
no amount of brushing your teeth will
make them look their brightest!

YOUR GUMS NEED IPANA, TOO!

Those soft foods which you eat day after
day can't give proper stimulation to your
gums. And inactive gums soon become
soft and tender. You are likely to develop
"pink tooth brush."

Follow the advice of dental science:
Massage your gums. After cleaning your

teeth, put a little extra Ipana on your
brush or fingertip and rub it lightly into
your gums. The ziratol in Ipana aids in
toning and hardening your gums.

In avoiding "pink tooth brush," you
avoid not only dull teeth — but the possi-
bility of gingivitis, pyorrhea, Vincent's
disease, and other threatening gum trou-
bles. You avoid, too, the possibility of en-
dangering perfectly sound teeth.

Use Ipana with massage — and your
teeth will be as attractive as the rest of you !

THE "IPANA TROUBADOURS" ARE BACK I
EVERY WEDNESDAY EVENING, 9.00, E. S.T.
WEAF AND ASSOCIATED N. B. C. STATIONS

IPANA

TOOTH PASTE

BRISTOL-MYERS CO., Dept. I-J4
73 West Street, New York, N. Y.

Kindly send me a trial tube of IPANA TOOTH
PASTE. Enclosed is a three-cent stamp to cover
partly the cost of packing and mailing.

Name

Strict

City State

Scotty Welbourne

JEAN MUIR looks most attractive in her black and white ensemble,
with a galyac turban and gloves to match. The elbow length fur
gauntlets are an interesting fashion note, but rather a warm fad, it
seems, for sunny California! Jean recently finished making "As the
Earth Turns," a Warner film in which she played the feminine lead

Photoplay Magazine for March, 1934

/TV

%?.

"42nd Street"... "Gold Diggers". . ."Footlight Parade'
. . . and now the most spectacular attraction the
show world has ever known — "Wonder Bar". Sensa-
tion of two continents on the stage, it comes to the
screen in a blaze of unrivalled splendor to give you a
gloriously new conception of musical screen spectacle!

WONDER BAR

Starring

AL JOLSON
DOLORES DEL RIO
RICARDO CORTEZ
F I F I D'ORSAY
HUGH HERBERT
RUTH DONNELLY
MERNA KENNEDY

Directed by LLOYD BACON • D
directed by BUSBY BERKELEY

KAY FRANCIS
DICK POWELL
HAL LEROY
GUY KIBBEE
KATHRYN SERGAVA
ROBERT BARRAT
HENRY KOLKER

ance numbers created and
• A First National Picture

Ike Audi

lence

lalks Dack

Max Baer has become King of Hearts since movie-goeis have thrilled to his performance in "The Prizefighter
and the Lady." Here Max is shown in a scene from the picture, with Myrna Loy and Otto Kruger 'left)

THE $25 LETTER

My day as secretary in the office of two busy
doctors goes something like this — a continual
rushing from one telephone to another, answer-
ing frantic calls: "No, sir, this is not the
morgue." " No, madam, I wouldn't advise you
to feed your two months' old baby pork and
beans." Etc., etc.

Comes six o'clock. Faint buzzing in my ears.
Furniture seems to be moving of its own
accord. Diagnosis — on-coming hysteria. Cure
— no, not pills. Quickly grabbing the evening
newspaper, I turn frantically to theatrical
news. Glad tidings of great joy! Now playing
at my favorite theater is a movie I've been
waiting long to see. What luck!

Zip! off comes my uniform. Click! out go
the office lights. Bang goes the door. I'm on
my way to a sure cure for the blues.

Helen M. Annand, Vancouver, B. C.

THE $10 LETTER

Pish! Then a couple of pishes! Will the
human lemon drops, crab apples, and vinegar
jugs of this old world transform their "contract
hearts" into "contrite hearts" and stop mutter-
ing that youth is going to the bow-wows ?
In fact, youth is making an exit from the
kennels.

Don't think the two hundred "teen types"
who daily come to my classes are saving their
pennies to see pictures filled with blood and
thunder, sex and machine guns. No indeed,
they save for such films as "Little Women"
and "Alice in Wonderland."

This era of clean movies is having its effect

This month has brought a
veritable avalanche of mail
commending those two fine
photoplays, "Little Women"
and "Only Yesterday." Limited
space permits our publishing
but a few of these complimen-
tary messages.

There are many new nomi-
nations for "Hollywood's Ideal
Couple," as well as dozens of
votes for those already named.
Who are your candidates?

Several readers have expressed
a desire to see the Gaynor-Far-
rell team together again on the
screen. These folks will be
pleased to know that Janet and
Charlie are now at work on the
film, "Sun Shines Bright."

From others come the sug-
gestion that producers film
popular operettas.

upon youth's taste for good literature and, if
it continues, will have a marked effect upon the
upward trend of American literature.

Karla Vance, Newark, Ohio

THE $5 LETTER

The high school which I now attend

Is full of movie stars!
New brilliant finds, like Anna Sten.

No Barbara La Marrs!

Lee Tracy throws his arms about,

The campus knows his vim.
Mae West? She wiggles in and out

From study hall to gym.

The Barrymores? You'll find them down

In classroom one 0 one,
The way they pop their eyes and frown

Would make Schenck say, "Well done!"

Our Laughton's getting rather slim

For old King Henry's clothes.
Clark Gable? Well, we've three of him,

And eight or ten Garbos.

Jim Boothe, Sweetwater, Texas

MAXIE SCORES A KNOCKOUT

In "The Prizefighter and the Lady," Max
Baer gave one of the best screen performances
I have ever seen, and considering the fact that
he is an amateur, that's saying a lot.

Otto Kruger also deserves much credit. In
fact, the whole thing was superbly written,
directed and acted.

[ please turn to pace 12 ]

Photoplay Magazine for March, 1934

"THE SCARLET EMPRESS"

(Based on a private diary of Catherine the Great)

directed by JOSEF VON STERNBERG
A PARAM0UNT PICTURE

Consult this pic-
ture shopping
guide and save
your time, money
and disposition

Brief R

e views o

C^urrent Pictures

-^ Indicates photoplay was named as one of the best upon its month of review

ACE OF ACES— RKO-Radio — Richard Dix in a
not-so-hot wartime aviation story. {Dec.)

ADVICE TO THE LOVELORN— 20th Century-
United Artists. — As punishment for neglect of his job
as reporter, Lee Tracy is made "Miss Lonelyhearts"
editor of the newspaper. Sally Blane, Isabel Jewell,
Sterling Holloway, C. Henry Gordon lend able
support. Fair. (Feb.)

AFTER TONIGHT— RKO-Radio.— Connie Ben-
nett's a Russian spy in love with Austrian officer
Gilbert Roland; fast, exciting. (Dec.)

AGGIE APPLEBY, MAKER OF MEN— RKO-
Radio. — Country-boy Charles Farrell is made into a
tough mug by bad-lady Wynne Gibson. Bill Gargan.
You'll laugh and like it. (Dec.)

• ALICE IN WONDERLAND— Paramount.—
Lewis Carroll's fairy tale filmed for the amuse-
ment of both young and old. Charlotte Henry is
charming as Alice. A technical achievement. (Feb.)

ANN CARVER'S PROFESSION— Columbia.—
Fay Wray shows her competence aside from horror
stuff, as a successful lawyer married to Gene Ray-
mond. Gene gets into trouble; Fay must save him.
Acceptable entertainment. (Sept.)

• ANN VICKERS— RKO-Radio.— Irene Dunne
in a finely acted tale of a social worker who
loves but doesn't marry. Walter Huston, Bruce
Cabot. Strictly for sophisticates. (Dec.)

ARIZONA TO BROADWAY— Fox.— Joan Ben-
nett, Jimmie Dunn, and a good cast, wasted in a
would-be adventure yarn about slicking the slickers.
(Sept.)

AS HUSBANDS GO— Fox.— When wife Helen
Vinson is followed home from Europe by admirer
G. P. Huntley, Jr., husband Warner Baxter takes him
out fishing, and straightens things out. Mediocre.
(Feb.)

AVENGER, THE — Monogram. — Adrienne Ames
and Ralph Forbes wasted on this one. (Dec.)

BEAUTY FOR SALE— M-G-M.— An amusing
tale about the troubles of girls who work in a beauty
shop. Una Merkel, Alice Brady, Madge Evans,
Hedda Hopper, others. ( Nov.)

BEFORE DAWN— RKO-Radio.— Dorothy Wilson,
a spiritualist, tries to help detective Stuart Erwin
solve a murder mystery — in a haunted house! Not
for the kiddies. (Jan.)

• BELOVED — Universal. — The story of a com-
poser's life. His poverty, his disappointment
in a worthless son, his scorn of grandson's modern
musical triumphs, his great love for his wife, and his
belated success. John Boles, Gloria Stuart. (Feb.)

• BERKELEY SQUARE— Fox.— As subtly
done as "Smilin' Through"; Leslie Howard
thrown back among his 18th century ancestors.
Heather Angel. (Sept.)

BEST OF ENEMIES— Fox.— No great comeback
for Buddy Rogers; he and Marian Nixon reconcile
quarreling papas Frank Morgan and Joseph Caw-
thorn. (Sept.)

BIG EXECUTIVE— Paramount.— Ricardo Cor-
tez, Richard Bennett, Elizabeth Young, wasted in
another of these stock market tales. Weak story.
(Oct.)

BIG SHAKEDOWN, THE— First National.—
Ricardo Cortez forces Charles Farrell into cut-rate
drug racket but when a fake drug kills Charlie's
and Bette Davis' baby, then Charlie retaliates.
A poor film. (Feb.)

BIG TIME OR BUST— Tower Prod.— Regis
Toomey and Walter Byron try hard, but to no
avail. However, the good singing voice in the film
may make you forget the old plot. (Feb.)

BITTER SWEET— United Artists.— A British
musical, about a woman musician who lives on after
her husband was killed defending her honor. It could
have been stronger. (Nov.)

BLARNEY KISS, THE— British & Dominions.—
British restraint takes zip from this tale of an Irish-
man who kisses the Blarney Stone, and then has great
adventures in London. Well acted. ( Nov.)

STYLES

that are new!

Turn to Seymour's
famous fashions
on page 61 of this
issue for latest
designs and
accessories

• BLONDE BOMBSHELL, THE— M-G-M.—
(Reviewed under the title "Bombshell.") Jean
Harlow superb in an uproarious comedy of Hollywood
life. Press-agent Lee Tracy makes her the hot
"Bombshell "; she wants to lead the simple life. (Dec.)

BLOOD MONEY— 20th Century-United Artists.
— Underworld bail bondsman George Bancroft falls
in love with pretty Frances Dee and deserts his
gangster friends who made him. Good suspense.
(Jan.)

BOMBAY MAIL— Universal.— Murder aboard
the Bombay Mail train. Inspector Edmund Lowe
solves the mystery. The large cast includes Shirley
Grey and Onslow Stevens. Good suspense. (Feb.)

• BOWERY, THE — 20th Century-United
Artists. — Grand fun while Wally Beery as
Chuck Connors and George Raft as Steve Brodic
battle for leadership of the Bowery in old days.
Jackie Cooper, Fay Wray. Don't miss it. (Dec.)

BRIEF MOMENT — Columbia.— Night club
singer Carole Lombard marries playboy Gene Ray-
mond to reform him. It has snap and speed. (Nov.)

BROADWAY THRU A KEYHOLE— 20th Cen-
tury-United Artists. — Walter Winchell's melodrama
of Gay White Way night life. Entertaining. (Dec.)

• BROADWAY TO HOLLYWOOD— M-G-M.
— Frank Morgan, Alice Brady, others, in a
finely-done life story of two vaudeville hoofers. No
thrills, but supreme artistry. (Nov.)

BROKEN DREAMS — Monogram. — Buster
Phelps shows how a little child can lead them; it's
slightly hokey. (Dec.)

BUREAU OF MISSING PERSONS— First Nal

tional. — Good, stirring detective work by hard-boiled
Pat O'Brien, directed by chief Lewis Stone. Bette
Davis. ( Nov.)

BY CANDLELIGHT— Universal.— A well-direct-
ed piece about butler Paul Lukas and ladies' maid
Elissa Landi who aspire to have an affair with royalty.
They meet, each masquerading, only to learn the
truth later. Nils Asther. (Feb.)

CAPTURED!— Warners.— Leslie Howard, Doug
Fairbanks, Jr., captured aviators held by prison
commander Paul Lukas. Fine acting; weak plot.
(Sept.)

CHANCE AT HEAVEN— RKO-Radio.— "Poor
but noble" Ginger Rogers and rich Marian Nixon
want Joel McCrea. Excellent playing makes this old
plot highly appealing. (Dec.)

CHARLIE CHAN'S GREATEST CASE— Fox.

—Warner Oland in another delightful tale about the
fat Chinese detective, and a double murder. Heather
Angel. (Nov.)

CHIEF, THE— M-G-M.— Ed Wynn in a filmful of
his nonsense that's good at times and at others not so
good. (Dec.)

CHRISTOPHER BEAN (Also released as "Her
Sweetheart") — ■ M-G-M. — Marie Dressier, Doc
Lionel Barrymore's maid, gives you plenty of laughs
when she helps daughter Helen Mack elope with
Russell Hardie, much to the annoyance of Beulah
Bondi, doctor's wife. See it. (Jan.)

COLLEGE HUMOR— Paramount.— Regulation
movie college life. Jack Oakie as hero. Bing Crosby;
Burns and Allen, Richard Arlen, Mary Kornman,
good enough. (Sept.)

• CONVENTION CITY— First National.— The
scene is Atlantic City; the incident, another
sales convention. Gay and eventful as always.
Joan Blondell, Adolphe Menjou, Dick Powell, Mary
Astor, Guy Kibbee, Frank McHugh and Patricia
Ellis. (Feb.)

[ PLEASE TURN TO PAGE 13 ]

Photoplay Magazine tor March, 1934

I I

YOU'LL SEE TWO CONSTANCE BENNETTS . . .

in this intoxicating, spectacular
romance icitli music! . . . the
\^onnie you 're alwaps loved—'
blonde and enticing ... /\nd
a new (^.onnie • — brunette f
seductive and ravishing ! . . .
teamed icith t r an c ho I
lone to create the perfect

lovers oj ill

xe screen ,

20*

CENTURY
PICTURE

A DARRYL F. ZANUCK Production

TULLIO CARMINATI
RUSS COLUMBO

BOSWELL SISTERS

Directed by Sidney Lanfield
cased thru UNITED ARTISTS

rickbats &

" She's a testimony to the triumph of Real Worth," is what one reader
says about petite little Mary Pickford, Sweetheart of all America

[ CONTINUED FROM PAGE 8 ]

If one could get a story, direction and acting
as good as this in more pictures, it would
be worth while visiting the movies more
often.

Kermit Lasch, Elkhorn, Wis.

AND SO DOES OTTO

Ladies and gentlemen! Did you see "The
Prizefighter and the Lady," and Otto Kntger?
What an actor! Star material of the first
caliber.

J. Wasso, Jr., Pen Argyl, Penna.

HEAR YE, PRODUCERS!

As the tide of time sweeps by taking romance,
youth and possessions, we old folks experience
much poignance and loneliness. Friends are
scattered and memories dimmed.

At the movies I sit and watch the few Gay
Nineties pictures there are. They seem to bring
back memories of childhood. Please let's have
more Gay Nineties pictures.

H. B., Los Angeles, Calif.

LEAD ON, PHOTOPLAY

The candid comments of Photoplay's ca-
pable reviewers steer me away from the
"lemons" and lead me to the best that Holly-
wood produces.

Keep up the good work!
Clayton H. Charles Jr., Milwaukee, Wis.

TO MARY PICKFORD

Though the roses are faded and falling
And the candles have guttered and died,
Though the silver is nothing but tinsel
And the tears on your cheek are scarce dried;

Though the beautiful home is in darkness
And its inmates are scattered and gone,
Though love folded his arms, like the Arabs
And fled, like the mist in the dawn;

We love you, we beg you'll believe it
We have faith that after a while
You'll come as of yore and still give us
The sweetness and charm of your smile.
Frances G. Quinn, Los Angeles, Calif.

THROUGH THE YEARS

Each day, as I drive my husband down the
imposing thoroughfare that winds from the
Parliament Buildings to the heart of the city's
business section, I salute a tiny house.

It has known happiness. It has known sor-
row. It has seen the middle-class, pleasant
street change to the widest, busiest motor-
driveway in town. It has just missed the
wreckers many times but still it stands, daunt-
less, dignified, boarded-up, empty but serene —
seeing changes, experiencing changes, but
never cheapened by them.

It is on University Avenue, Toronto,
Canada, the house where the little Canadian
girl, Gladys Smith, lived before she became
Mary Pickford, America's Sweetheart.

o u q u e t s

The little house stands, as the magnificent
Mary does, a silent testimony to the triumph
of Real Worth.

Rica M. Farquharson, Toronto, Canada

A PERFECT OUTLET

All of us, at one time or another, feel that
everything is wrong, and we want to scream
loudly, swear violently, kick doors or throw
things.

It was just such a day for me when I went to
see "Only Yesterday." Result — I cried quite
freely throughout most of the picture. I know
of no saner, safer way as an outlet for tense
nerves. It soothes and calms. One's own
troubles seem small in comparison.

Most women enjoy a good cry scattered
along between "Footlight Parades" and "I'm
No Angels."

Patricia Rogers, Santa Barbara, Calif.

TRULY AN ARTIST

After having seen the marvelous drama,
"Only Yesterday," starring Margaret Sul-
lavan, one cannot help but love her. She is an
artist; she is graceful and alluring. The story
digs down deep into one's heart.

One feels like shouting to her: "Tell him
who you are. Tell him how you have suffered
— how you have loved him," but our better
self says: " She was right; he should have known
her."

W. M. Hunt, Montebello, Calif.

MAIN ST. ON SATURDAY NIGHT

Let's take a look at the long line of cars on
Main Street on Saturday night.

Those cars are waiting for Mr. and Mrs.
Farmer who are enjoying two magic hours of
travel in strange lands, of laughter and of tears.

Is it any wonder that the farmer's wife, thus
brought in touch with the lives and problems
of the rest of the world, feels not quite so
lonely now?

Frances Galwey, Pasadena, Calif.

A NEW NOMINATION

I wish to cast my vote for Norma Shearer
and Irving Thalberg as "Hollywood's Ideal
Couple."

They lead a simple, quiet life, and are fond
of their home and child.

In spite of great success, they are unaffected.
I believe they have found everlasting happi-
ness.

Betty Seay, Indianapolis, Ind.

THE LLOYDS ARE ON TOP

Our bridge club meets once a month and, as
is customary with a modern group of girls, at
some time during the evening conversation
turns to movie folk and Hollywood news.

At our last meeting, we decided to take time
out to cast our votes for "Hollywood's Ideal
Couple."

Here is the result:

3 for Joan Bennett and Gene Markey
1 for Ruby Keeler and Al Jolson

4 for the Fredric Marches
1 for the Warner Baxters
6 for the Harold Lloyds

1 for the Richard Barthelmesses

Ruth Mayer, Indianapolis, Ind.

DELICATELY BEAUTIFUL

Paramount deserves high praise for its beau-
tiful and artistic production, "Cradle Song."
[ please turn to page 14 ]

Photoplay Magazine for March, 1934

Brief Reviews of
Current Pictures

[ CONTINUED FROM PAGE 10 ]

• COUNSELLOR-AT-LAW— Universal— John
Barrymore, in a splendid portrayal of the
lawyer who rose from the Ghetto to position of New
York's foremost legal advisor. Bebe Daniels, as his
secretary, is excellent. Each member of the large
cast does fine work. Never a dull moment. {Feb.)

CRADLE SONG— Paramount.— Just as charm-
ing is Dorothea Wieck in this her first American
picture as she was in "Maedchen in Uniform."
The beautiful story of a nun who showers mother-
love on a foundling. {Jan.)

DANCE, GIRL, DANCE— Invincible.— Dancer
Evalyn Knapp can't get along with vaudeville
partner-husband Edward Nugent. But when she
clicks in a night club, they make up. Entertaining.
(Jan.)

• DANCING LADY— M-G-M — A backstage
musical with gorgeous settings, lovely girls,
novel dance routines, some good song numbers, a
real plot and a cast of winners, including Joan Craw-
ford, Clark Gable, Franchot Tone, Fred Astaire.
(Feb.)

DANGEROUS CROSSROADS— Columbia —

Chic Sale does the locomotive engineer in a railroad
thriller. For confirmed hokum addicts and Chic
bale's followers. (Sept.)

DARK HAZARD— First National.— Fascinated
by a greyhound named Dark Hazard and by the
racing fever, Eddie Robinson loses wife Genevieve
Tobin through neglect. Grand night scenes at the
dog track. (Feb.)

DAS LOCKENDE ZIEL (THE GOLDEN

GOAD— Richard Tauber Tonfilm Prod.— Richard
Tauber, as village choir singer who attains grand
opera fame. His singing is superb. English captions.
(Sept.)

DAY OF RECKONING, THE— M-G-M.—
Richard Dix, Madge Evans, Conway Tearle, below
par in an ancient tale of an embezzling cashier and a
double-crossing friend. (Dec.)

DELUGE — RKO- Radio.— Earthquakes, tidal
waves, the end of the world provide the thrills here.
Cast and story alike dwarfed by the catastrophes.
( -Vo».)

DER SOHN DER WEISSEN BERGE (THE
SON OF THE WHITE MOUNTAINS)— Itala
Film. — Luis Trenker, skiing hero, and cast do good
work. But the gorgeous Alpine views run away with
this German-made film. (Jan.)

• DESIGN FOR LIVING — Paramount.— Noel
Coward's unconventional stage play of a
triangle, involving two men (Fredric March and
Gary Cooper) and a woman (Miriam Hopkins).
Excellent. Sophisticated. (Jan.)

DEVIL'S IN LOVE, THE— Fox.— A shopworn
Foreign Legion story; but Victor Jory, Loretta Young,
David Manners, Vivienne Osborne, save it with fine
acting. (Oct.)

DEVIL'S MATE— (Also released under title "He
Knew Too Much") — Monogram. — A good melo-
drama about a murderer who was murdered so he
couldn't tell what he knew. (Oct.)

DIE GROSSE ATTRAKTION ("THE BIG
ATTRACTION")— Tobis-Tauber-Emelka. Prod.—
Richard Tauber's singing lends interest to this Ger-
man film. English subtitles. (Oct.)

DISGRACED — Paramount. — Not a new idea in
a carload of this sort of stuff. Mannikin Helen
Twelvetrees; rich scamp Bruce Cabot; enough said.
(Sept.)

DOCTOR BULL— Fox.— Will Rogers brings per-
sonality to the tale of a country doctor struggling
with a community that misunderstands; mild, except
for Will. ( Nov.)

DON'T BET ON LOVE— Universal.— So-so;
Lew Ayres wild about race-horses; sweetheart Ginger
Rogers feels otherwise. Ends well, after some race
stuff. (Sept.)

• DOUBLE HARNESS— RKO- Radio.— Scintil-
lating sophistication, with Ann Harding wan-
gling rich idler Bill Powell into marriage, and mak-
ing him like it. (Sept.)

[ PLEASE TURN TO PAGE 16 ]

Before the white man
came, tooth decay was
unknown. Now the
Eskimo eats the wrong
foods, doesn 't clean his
teeth, has civilized
habits, and pays the
penalty with poor teeth

An uncivilised African
who files her teeth to pin
points for beauty** sake.

BEFORE he ate
the soft,
starchy foods of
civilization, tooth-
ache was unknown
to the oldest
Eskimo, unless
perhaps he had broken off a tooth by acci-
dent. Then the toothache of civilized races
began to appear. It was found to result
from common tooth decay.

Now dental science explains the cause of
tooth decay in this way: Modern diet con-
sists largely of soft, sticky foods. After eat-
ing, particles of food cling between the
teeth and under the gums. Germs cause this
food to spoil or decay. As food decays, acids
are given off which decay or dissolve the
tooth enamel. Once through enamel decay
progressesrapidly until the nerve is reached
and the entire tooth is undermined.

Not one person in ten thousand has
teeth hard enough to resist the acids which
cause decay. These acids are produced by
germs. The germs live and multiply in a
coating of film or mucin plaque, which
forms on teeth. Film is tough and clings
stubbornly to teeth. It catches the acid-
producing germs and glues them XR
to the tooth surfaces.

Removing film is, therefore, the

(Left) The modern Eskimo nfter a
half century of civilization 's luxuries.

most important problem in
saving teeth. Recently a no-
table discovery was made
in the Pepsodent labora-
tories. It is a revolutionary
cleansing material. The
cleansing and polishing
material is the part of any
tooth paste that does the
work. Herein lies the dif-
ference between the New
Pepsodent and ordinary brands.

Most cleansing materials are either so
hard and abrasive that they scratch the
tooth enamel or else they are so soft that
they fail to remove film and stains.
Pepsodent's new material is twice as soft
as that commonly used in other tooth
pastes, yet it is also remarkably effective
in removing film.

FREE— 10-Day Tube

THE PEPSODENT CO., Dept. 113,

919 No. Michigan Ave., Chicago, 111.
Mail 10-Day Tube of Pepsodent to

Name

Address.
City

4364

Send In Your Reactions

[ CONTINUED FROM PAGE 12 ]

Followers of the legitimate theater, and
students of the drama viewed with consider-
able apprehension the prospect of seeing
Martinez Sierra's exquisite play transformed
into a motion picture.

" Cradle Song" was directed with a sensitive-
ness that is all too rare in the art of motion
pictures.

As Sister Joanna, Dorothea Wieck more than
fulfills all expectations.

F. E. Brenon, Brentwood Heights, Calif.

I had the supreme pleasure of attending
Dorothea Wieck's "Cradle Song." It is the
loveliest thing I have ever seen portrayed on
the screen. Miss Wieck is an artist and I hope
we will be favored with many pictures by her,
as touching and beautiful.

Mary S., New York, N. Y.

SO SHALL IT BE

How about another G^ynor-Farrell film back
to the "7th Heaven," "Street Angel" era,
since drawing-room films are draggy and gay

Commendations
are showering in on
the dazzling, spec-
tacular film,
"Dancing Lady,"
and on the lovely
Joan Crawford, who
is teamed with
lithe Fred Astaire
in the brilliant
dance numbers

Dorothea Wieck's
delicate beauty and
her dramatic talent,
displayed in
"Cradle Song," her
first film in Amer-
ica, have won the
hearts of motion
picture audiences
all over the country

husband, beautiful siren and neglected wife
parts are almost passe? Let's have more fresh,
sparkling films with the vivacious Janet and
heroic Charlie.

Ed Kesner, Cleveland, Ohio

STAGGERING— STUPENDOUS

"Dancing Lady" towers to new heights in
screen musical entertainment. A smashing
parade of song hits.

Here is the Joan Crawford of old — the Craw-
ford who stampedes the box-office. Teamed
once more with Gable, Joan plays her chorus
role with all she's got. When she dances —
with Fred Astaire — well, she dances!
Mrs. Charles Toles,

Colorado Springs, Colo.

DANCING OFF THE POUNDS

After seeing a grand picture like "Dancing
Lady," I catch myself tap dancing about my
work and making the firmest resolutions to be-
come as slender and graceful as Joan Crawford.
Dorothy Carmack, No. Little Rock, Ark.

OPERETTAS

The lilting tunes of "Blossom Time,"
"Naughty Marietta, "The Chocolate Soldier,"
" My Maryland" and " Mademoiselle Modiste"
still linger in my mind as pleasant memories.
Why not bring these to the screen? Surely
their oft-repeated renditions on the air attest
to their eternal popularity!

May I nominate John Boles as the outstand-
ing choice for these musicals. He proved his
ability for this type of role by his success in the
popular " Desert Song."
Catherine Weyant, Philadelphia, Penna.

YES, WHO?

If you were to select one star from all of
Hollywood's brilliant assemblage, one person

On Every Film You See

whom you would want to know intimately and
call your friend, who would that person be?

To me, Katharine Hepburn is all I should
want in a friend. Loyal, considerate, a great
personality, eager, full of warmth, a sense of
humor — these and others are Katharine's at-
tributes, which, reflected from the screen,
qualify her as a true friend. She is human and
real and clever — and above all sincere. What
more could one ask for?

Virginia Wentz, Portland, Ore.

AS WE KNEW THEM

To those of us who have read, reread and
loved "Little Women," the picture gave
actuality to our inward visions of those char-
acters.

The quieting and sweetening of tomboy Jo,
portrayed by Katharine Hepburn, was one of
the details that made the girls real people
rather than dream girls.

Louisa M. Alcott, as well as all the girls who
have loved her story, would feel that her Jo
and all the March family had truly come to
life.

Marjorie Vachon, Stockton, Calif.

MUCH MORE, INDEED

"Little Women" is more than a two-hand-
kerchief sob picture; it is life, and truth, and
beauty. What if the locale and atmosphere
are those of sixty years ago? The American
people, for all their jazz and riotous pace, still
idealize simplicity.

Daniel Masta, Portland, Me.

NATURALLY!

I could rave on forever about Ann Harding,
who is undoubtedly the most unique type of
actress on the screen today. I like everything
in which she has ever played. Have just seen
"The Right to Romance," which I thoroughly
enjoyed.

■

"**&&*

M B

Her low voice, her
frank manner, and
her naturalness en-
dear Ann Harding
to the movie-going
public. Notes keep
coming in about
her excellent work
in "The Right to
Romance," with
Nils Asther

One film devotee
would choose as a
friend Katharine
Hepburn in prefer-
ence to anyone else,
if she were to make
her selection from
the vast Hollywood
assemblage. What
say you about it?

To me, Ann is ethereal, and her low vcice is
fascinating. She seems to say the right thing,
in the right tone, and uses words that are plain
and frank, yet the natural thing to say.

Elcy Oberdick, Leavenworth, Kansas

REFRESHING MEMORIES

This is just a word of thanks for your inter-
esting work from a great enthusiast of your
publication in far-away Poland.

I left the United States six years ago, but
have not missed a single copy of Photoplay
since. I like Poland very much and Warsaw is
a jolly city, a sort of "petite Paris," still there
are times when I long for familiar sights in
Uncle Sam's country. Then I turn to the
movies for comfort.

Mrs. A. Drzewiecki, Warsaw, Poland

DON'T WORRY, WE HAVEN'T

I live in dread from one month to the next
that the department "Casts of Current Photo-
plays" will be discontinued. I trust you have
no intention of dropping this feature.

Vernon Lowe, Los Angeles, Calif.

Brief Reviews of Current Pictures

CONTINUED FROM PAGE 13 ]

• DUCK SOUP— Paramount.— The Four Marx
Brothers get mixed up in a revolution in a
mythical country — and boy, how they get mixed up!
A riot of fun. (Jan.)

EAST OF FIFTH AVENUE— Columbia.— Melo-
drama centering around the lives of ten people who
live in a cheap New York rooming house. Dorothy
Tree, Mary Carlisle, Walter Connolly and Wallace
Ford. Just fair. (Feb.)

EASY MILLIONS— Freuler Film.— A fine mix-up
when "Skeets" Gallagher finds himself engaged to
three girls at the same time. Johnny Arthur is his
professorish roommate. Good supporting cast. (Feb.)

EAT 'EM ALIVE— Real Life Pictures.— A nature
drama about snakes and gila monsters. Perhaps a
bit too gruesome for women and children. (Feb.)

EMPEROR JONES, THE United Artists.—

The great Negro ai tor Paul Robeson, in a filming of
his phenomen 1 stage success about a Pullman porter
who won rulership of a Negro republic. (Dei.)

ESKIMO — M-G-M. — A gorgeous picture of life in
the Arctic, and Eskimos tangling with white man's
law. Eskimo actors; a treat for all who like the un-
usual. (Dec.)

EVER IN MY HEART- Warners.— Barbara
Stanwyck in a too-horrible tale about persecution of
herself and hubby Otto Kruger as German-Americans
during the World War. (Dec.)

FAITHFUL HEART— Helber Pictures.— Not
even Herbert Marshall and Edna Best could make
anything of this. ( Nov.)

FAREWELL TO LOVE— Associated Sound Film.
— Especially for those who enjoy Italian opera airs.
Jan ICiepura, tenor, and Heather Angel do the best
possible with their roles. (Feb.)

FEMALE— First National.— Ruth Chatterton,
who toys with men in her own motor company, melts
before George Brent. Chatterton fine. (Jan.)

FIDDLIN' BUCKAROO, THE— Universal— Ken
Maynard and horse Tarzan in a dull Western. (Sept.)

FIGHTING PARSON, THE— Allied-First Divi-
sion.— Hoot Gibson tries comedy, as a cowboy be-
decked in the garb of a parson. Not exactly a comic
riot, nor is it good Western. (Oct.)

• FOOTLIGHT PARADE— Warners.— Not as
much heart appeal as the earlier Ruby Keeler-
Dick Powell "backstage" romances, but it has Jimmy
Cagney. He's grand, and the specialty numbers are
among the finest ever done. (Dec.)

F. P. 1.— Fox-Gaumont British-UFA. — A well-
done and novel thriller, about a floating platform
built for transatlantic airplanes. Conrad Veidt,
Leslie Fenton, Jill Esmond. (Oct.)

FROM HEADQUARTERS— Warners.— A grip-
ping murder mystery, showing real police methods for
a change. (Dec.)

FRONTIER MARSHAL— Fox.— George O'Brien
as a "dude" marshal in a Western town. Ruth
Gillette does a Mae West impersonation. Well
w ml h your time. (Feb.)

• GALLANT LADY— 20th Century-United
Artists. — As the gallant lady in distress, Ann
Harding does such fine work that even Clive Brook's
exceptional characterization as a social outcast can-
not overshadow her performance. Tullio Carminati,
Otto Kruger, Dickie Moore, Betty Lawford. (Feb.)

GIRL WITHOUT A ROOM— Paramount-
Charles Farrell, Marguerite Churchill and Charlie
Ruggles in a picture that kids the pseudo-art racket
in Paris. Light entertainment. (Feb.)

GOLDEN HARVEST — Paramount. — Farmer
Dick Arlen grows wheat; brother Chester Morris is a
Board of Trade broker; a farmers' strike brings the
climax. A strong film. (Dec.)

GOOD COMPANIONS, THE— Fox-Gaumont-
British. — A mildly pleasing English tale of trouping
in the provinces. (Dec.)

GOODBYE AGAIN— Warners.— Good, if not
howling, farce. Author Warren William pursued by
ex-sweetie Genevieve Tobin; he's for Joan Blondell.
(Sept.)

GOODBYE LOVE — RKO-Radio. — Charlie
Ruggles in a would-be comedy that's really a messy
mixture of unsavory material. (Dec.)

GUN JUSTICE — Universal. (Reviewed under
the title "Rider of Justice.") — Ken Maynard shows
up in the nick of time to save the pretty girls ranch
in Arizona. The same old hokum. (Jan.)

• HAVANA WIDOWS— First National.— Joan
Blondell, Glenda Farrell and Guy Kibbee in a
rollicking comedy. A climax that will tickle your
risibilities. Good fun. (Jan.)

HE KNEW TOO MUCH— Monogram— Also re-
leased as "Devil's Mate." See review under that
title. (Oct.)

HEADLINE SHOOTER— RKO-Radio.— News-
reel man William Gargan rescues reporter Frances
Dee, in an acceptable thriller with a new twist.
(Sept.)

HE COULDN'T TAKE IT— Monogram.— Pals
Ray Walker and George E. Stone get mixed up with
gangsters in a highly amusing comedy concoction.
Virginia Chernll. (Feb.)

HELL AND HIGH WATER— Parmount— Dick
Arlen, owner of a garbage scow, falls heir to a baby
and a girl (Judith Allen) at the same time. Dick
fine; story poor. (Jan.)

HELL'S HOLIDAY— Superb Pictures.— Another
assemblage of official war film — with the usual anti-
war conversation added. Otherwise, acceptable and
interesting. (Oct.)

HER BODYGUARD— Paramount— Showgirl
Wynne Gibson's so pestered, she hires Eddie Lowe
as bodyguard. Good enough fun from there on.
(Sept.)

HER SPLENDID FOLLY— Hollywood Pictures.
— Generally speaking, this is pretty poor. Lilian
Bond plays the role of double for a movie star.
Alexander Carr is a producer. (Feb.)

HIS PRIVATE SECRETARY— Showmens Pic-
tures.— An Evalyn Knapp romance with John Wayne.
Distinctly better than most films in which Evalyn
has appeared. (Oct.)

HOLD THE PRESS— Columbia.— This time
Tim McCoy is a newspaper man. He has exciting
times trying to expose a group of racketeers, and in
the end he does. Good suspense. (Feb.)

• HOLD YOUR MAN— M-G-M.— Clark Gable
and Jean Harlow; both crooked to start, both
go straight for love. Not another "Red Dust," but
good enough. (Sept.)

HOOPLA — Fox. — Clara Bow as a carnival dancer.
Love interest, Richard Cromwell, whom Clara is
paid to vamp — and does she like it? Story so-so.
(Jan.)

HORSE PLAY— Universal.— Cowboys Slim Sum-
merville and Andy Devine go to England with a
million dollars, just in time to save pretty Leila
Hyams from jewel thieves. Just so-so. (Feb.)

IF I WERE FREE— RKO-Radio.— Irene Dunne
and Clive Brook, both unhappily married, turn to
each other for a bit of happiness. Familiar plot, but
sophisticated, clever dialogue. Nils Asther, Laura
Hope Crews. (Feb.)

I HAVE LIVED— Chesterfield.— Alan Dinehart,
Anita Page, others, help this obvious tale about a
playwright and a woman of easy virtue. ( Nov.)

*I LOVED A WOMAN-First National.-Ed-
ward G. Robinson, as a rich Chicago meat-
packer, finds his life torn between wife Genevieve
Tobin and opera singer Kay Francis. Excellent and
"different.'' (Nov.)

I LOVED YOU WEDNESDAY— Fox.— Life and

loves of dancer Elissa Landi. Victor Jory throws her
over; Warner Baxter loves her. Pleasant; not grip-
ping. (Sept.)

Photoplays Reviewed in the Shadow Stage This Issue

Save this magazine — refer to the criticisms before you pic\ out your evening's entertainment. Ma\e this your reference list.

Page

Above the Clouds — Columbia 58

All of Me — Paramount 58

Charming Deceiver, The — Majestic Pic-
tures 103

Criminal at Large — Helber Pictures. . . 103

Cross Country Cruise — Universal 58

Dawn to Dawn — Cameron MacPherson

Prod. . . 102

Eight Girls in a Boat — Paramount. . . . 102

Fashions of 1934 — First National 56

Flying Down to Rio— RKO-Radio .... 58

Fog — Columbia 102

Four Frightened People — Paramount. . 59

Fugitive Lovers — M-G-M 59

Going Hollywood — M-G-M 57

Hips, Hips, Hooray— RKO-Radio 58

Page

His Double Life — Paramount 59

I Am Suzanne! — Fox 57

I Like It That Way— Universal 102

Kadetten (Cadets) — Reichsligafilm Pro-
duction 104

Last Round-Up, The — Paramount. . . .103

Let's Fall in Love — Columbia 102

Madame Spy — Universal 102

Man of Two Worlds— RKO-Radio .... 103
Marriage on Approval — Freuler Film. . 104

Massacre — First National 102

Meanest Gal in Town, The — RKO-
Radio 102

Miss Fane's Baby Is Stolen — Paramount 57
Moulin Rouge — 20th Century-United
Artists 56

Page

Nana — Samuel Goldwyn-United Artists 58

Orient Express — Fox 102

Palooka — Reliance-United Artists 59

Poor Rich, The — Universal 59

Poppin' the Cork — Fox-Educational. . . 104

Queen Christina — M-G-M 56

Sagebrush Trail — Monogram 103

Search for Beauty, The — Paramount . 102
Sin of Nora Moran, The — Majestic Pic-
tures 103

Son of Kong, The— RKO-Radio 59

Sons of the Desert— Hal Roach-M-G-M . 102

Two Alone— RKO-Radio 102

Wheels of Destiny — Universal 102

Woman's Man, A — Monogram 103

Photoplay Magazine for March, 1934

• I'M NO ANGEL.— Paramount.— It's Mae
West, and howl Sizzling, wise-cracking. This
one simply wows audiences. There's Cary Grant, but
Mae's all you'll see. {.Dec.)

INVISIBLE MAN, THE— Universal.— Shivery,
this H. G. Wells tale, in which newcomer Claude
Rains makes himself invisible — and then loses his
reason. A creepy, but compelling picture. (Jan.)

IT'S GREAT TO BE ALIVE— Fox.— Perhaps
squirrels who see this will think so; most audiences
won't. Herbert Mundin, Edna May Oliver help
some. (Sept.)

JIMMY AND SALLY— Fox.— With the aid of
secretary Claire Trevor, publicity director Jimmy
Dunn manages to find his way out of all sorts of
scrapes that result from his fantastic schemes. Lya
Lys, Harvey Stephens. (Ffb.)

KENNEL MURDER CASE, THE— Warners.—
William Powell in another Philo Vance murder mys-
tery; smoothly done and entertaining. (Dec.)

KING FOR A NIGHT— Universal.— Chester
Morris, a swell-headed, though likable prize-fighter,
stands the consequences for something sister Helen
Twelvetrees has done. Exciting. (Jan.)

LADIES MUST LOVE— Universal.— A "gold-dig-
ger" partnership breaks up when June Knight really
falls for Neil Hamilton. Thin, but it has good spots.
( Wot.)

• LADY FOR A DAY— Columbia.— Apple-
woman May Robson thought a society dame
by her daughter; a stage crowd throws a party to
save the day. Fine fun. (Sept.)

LADY' KILLER— Warners.— When ex-girl friend
Mae Clarke becomes a nuisance, Jimmy Cagney
tries the new stunt of dragging her about by the hair.
Margaret Lindsay, Leslie Fenton. Fast comedy,
but unconvincing story. (Feb.)

LAST TRAIL, THE — Fox. — A Zane Grey
Western with racketeers instead of rustlers, and speed
cops in place of cowbovs. The changes don't help it.
(Oct.)

LIFE IN THE RAW— Fox.— George O'Brien and
Claire Trevor in a Western enriched with new ideas.
(Oct.)

LONE AVENGER, THE— World Wide.— The big
bank robbery is the burden of this Ken Maynard
Western. Youngsters won't be disappointed. (Sept.)

LONE COWBOY— Paramount.— Without Jackie
Cooper there wouldn't be much of a picture. Jackie's
sent West to comfort his dead father's pal embittered
by his wife's (Lila Lee) faithlessness. (Jan.)

LOVE, HONOR AND OH, BABY!— Universal.
— (Reviewed under the title "Sue Me.") Shyster
lawyer Slim Summerville tries to frame ZaSu Pitts'
sugar-daddy. Riotously funny, after a slow start.
(Nov.)

• MAMA LOVES PAPA— Paramount— Lowly
Charlie Ruggles is made park commissioner;
involved with tipsy society dame Lilyan Tashman.
Great clowning. (Sept.)

MAN OF THE FOREST— Paramount.— Far from
being a topnotch Western. Randolph Scott, Verna
Hillie, Noah Beery. Good work done by a mountain
lion. (Sept.)

MAN'S CASTLE— Columbia.— A deeply moving
tale of vagabond Spencer Tracy and his redemption
by Loretta Young's love. (Dec.)

MARY STEVENS, M.D.— Warners.— Slow tale
of two doctors (Kay Francis, Lyle Talbot) who love,
have a baby, but won't marry. (Sept.)

[ PLEASE TURN TO PAGE 123 ]

MUMMY, JOEY AND
JENNY NEXT DOOR
ARE GIVING A PARTY
AND I'M INVITED

THATS FINE,
JACKY

EVERYBODYS SO

NICE TO JACKY.

BUT WHY AREN'T

THEY MORE

FRIENDLY TO ME?

WHAT MAKES THEM

SO DISTANT?

THATS A NICE STORY
MUMMY.BUT WHAT
MAKES YOU LOOK SO
FUNNY?

NOTHING, JACKY,
I'M JUST....
THINKING...

B.O.GONE-

lots of Jrieuds ttmtf/

SHUT YOUR EYES AND GO

TO SLEEP LIKE A GOOD BOY,

JACKY. THE FOLKS NEXT DOOR

ARE COMING OVER TO

PLAY BRIDGE

OH, MUMMY, YOU
HAVE SO MANY
PARTIES NOWl

MUMMY, HERES A
STORY WITH LOTS
OF PICTURES. READ
IT TO ME

ALLRIGHT.JACKY.

ITS A LIFEBUOY AD.

ABOUTA LITTLE BOY

NAMEDTEDDYAND

HIS MOTHER

...UNPOPULAR
BECAUSE OF"B.O'.'

...CAN THAT BE

MY TROUBLE?

I'LL GET LIFEBUOY

AND PLAY SAFE

SUCH GLORIOUS

LATHER AND SUCH

A REFRESHED

FEELING! I'LL

ALWAYS USE

LIFEBUOY NOW

LIFEBUOY IS
KEEPING MY
COMPLEXION
AS NICE AS
YOURS, JACKY

II FE BUOY'S creamy, searching lather
J coaxes out pore-deep dirt — freshens
dull skins to glowing health. Its pleasant
extra-clean, quickly-vanishing scent tells
you that this rich, penetrating, hygienic
lather purines both face and body pores.

An ever-present danger

"B.O." {body odor) in cool
weather? Yes, indeed! Sum-
mer and winter alike our pores
giveoffa^wrfrtofodor-causing
waste daily. Take no chances
with this unfor-
givable fault any
time of year. Play
safe always —
bathe regularly
with Lifebuoy.

Photoplay Magazine for March, 1934

Take a headache for example

IVIaybe you over indulged the
night before — possibly it was some-
thing you ate. You wake up with a
throbbing head. Your alkaline re-
serve is lowered. You feel depressed
and loggy.

Then you take Bromo-Seltzer —
drink it as it fizzes in the glass. See
what happens ! As Bromo-Seltzer dis-
solves, it effervesces. This is one of
the reasons why Bromo-Seltzer so
promptly gives relief from gas on
the stomach.

Then Bromo-Seltzer attacks the
throbbing pain. Your headache stops.
Your nerves are calmed and soothed.
At the same time you are gently
steadied, cheered up. And all the
while, the needed alkali is being
supplied to your blood.

Before you know it, your head

clears . . . the pain is gone . . . you
feel refreshed — like a new person!

Combines 5 medicinal ingredients

Bromo-Seltzer is a balanced compound
of five ingredients, each with a
special purpose. No mere pain-killer
can equal its results.

Remember, too, you take Bromo-
Seltzer as a liquid — therefore it works
much faster.

Best of all, Bromo-Seltzer is pleas-
ant and reliable. It contains no nar-
cotics, never upsets the stomach.

You can get Bromo-Seltzer
by the dose at any soda foun-
tain. Keep the economical family
size bottle at home. Ready at
a moment's notice to relieve
headache, neuralgia or other
pains of nerve origin.

It pays to make sure of the one
and only Bromo-Seltzer. Look for
the full name "Emerson's Bromo-
Seltzer" on the label and blown into
the famous blue bottle. Imitations
are not the same balanced prepara-
tion . . . are not made under the same
careful system of laboratory control
which safeguards Bromo-Seltzer.
Sold by druggists everywhere for
more than forty years. Emerson Drug
Company, Baltimore.

NOTE : In cases of persistent headaches, where the
cause might be some organic trouble, you should of
course consult your physician.

EMERSON'S

BROMO-SELTZER

Quick

Pleasant

Reliable

Ernest A. Bachrach

THE exciting life is Douglas Fairbanks, Jr.'s heritage, and the Fair-
banks grit and vigor is evidenced in every line of his sharply chiseled
profile. Young Doug has become a restless ocean hopper. He made
"Catherine the Great" in London, returned to Hollywood for "Success
Story," and soon may be back in London to do a picture with Fairbanks,Sr.

Russell Ball

FLORINE McKINNEY'S gorgeous blue eyes reveal a dream and the
determination to make it come true. They've been trained on the
high goal of stardom ever since she set out from Fort Worth, Texas, for
Hollywood in a spluttering flivver two years ago. Recently seen in
"Beauty for Sale" — she has it to spare — her next is "Hollywood Party"

Clarence Sinclair Bull

DIANA WYNYARD, post-graduate of the English charm school,
has been missed by American screen audiences since her appearance
with John Barrymore in "Reunion in Vienna" some months ago. M-G-M
has been shifting plans for her next vehicle, but it should not be long
before this fine actress of "Cavalcade" fame is before her public again

Otto Dyar

DO you think Rosemary Ames looks like Marlene Dietrich? Many
people do. Others see a resemblance to Tallulah Bankhead. Fox,
however, insists she will be quite a personality in her own right, follow'
ing release of her first picture, "Disillusion." Miss Ames, an Evanston,
111., girl, made good on the London stage before Hollywood recognised her

soft

*" H,l. S°r* Or '° W "°^e

9 'oth

"e^. ~~* 4n<y

Encnanted moments . . . with JEAN PARKER'S lovely, expressive hands
enfolded in Tom Brown's. Scene taken from RKO's new film, "Wild Birds.''

TRY Hinds Cleansing Cream, too, by the same makers. D<
cafe, light. ..liquefies instantly, floats out dirt! 10c, 40c, 6

Hurre

JEAN HARLOW'S beauty lends itself superbly to studies in contrast
and dramatic portraiture. All a good photographer needs is a black
background, one bright light, the lovely platinum blonde for a subject —
and the result is as striking a picture as ever came out of Hollywood

Close-Ups and Long-Shots

A VITAL movement is the cleaning-up of film
advertising. The Associated Motion Picture
Advertisers — which represent the advertising-
fraternity of the several major companies — have set
themselves the task of barring offensive publicity.

There has been a tendency — a perfectly human one,
by the way — to overstep conventional bounds in the
ballyhooing of certain films. And films themselves
have not been entirely above fault.

The following excerpts from a statement, prepared
by the board of advertising censorship, in the Hays
organization, are significant.

THE motion picture industry has resolved to
clean itself up. It has resolved at the same time
to modify its salesmanship and its objectionable ad-
vertising. This is because now that the industry is
operating under the NRA code, being forced to recog-
nize its tremendous responsibility to the public, it has
come to realize that if the government is all powerful
in its determination to modify or even to close up
certain motion pictures, then the duty lies heavy on
this industry so to modify its output that the criticism
that is so often leveled against it may be killed at the
outset — not by the powers of the government, but by
the motion picture producers themselves.

pictures and, indeed, one or more magazines have
made a specialty of publishing them.

With the recent crop of musicals, filled with
imitative Sally Rands and other dancers, the number
of dubious publicity photos has been on the increase.

HOWEVER the great majority of the "still"
photos that creep into print are not even of
actual scenes from pictures. They are specially posed.
But, naturally, the public does not know this.

Moreover, scores of unknown extras and bit players
are induced to have their scantily clad figures repro-
duced in the less discriminating publications.

Hence, the Hays office ban is wholly logical and
sensible.

GRETA MEYER, German actress, appearing in
the film, "Let's Fall in Love," adds her bit to
"what's wrong with Hollywood." She says that
European actors are given a complete theatrical
education, which includes everything from dancing,
diction and make-up to the history of the theater.

Well, our stars may be badly trained, but what
puzzles us is, why are they so much more popular on
the other side of the water than the home talent there?

T"T is absurd to think that any government would
JLallow the continuance of any industry which daily
and hourly was holding up to a vast majority of our
citizens ideals of conduct, ideals of moral behavior,
customs of undress or habits of common morality
which, if adopted by a majority of our people, would
change this country of ours from a country of homes
and home-loving people into a country of libidinous
immoralists."

Vigorous language, perhaps, hut it is a criticism of
the motion picture industry from within the industry
itself. And, yet, I cannot feel that the situation is
quite as bad as represented. Perhaps the crusading
spirit is riding just a bit too hard.

THE Will Hays organization — Motion Picture
Producers and Distributors of America — has
ordered a stop to the releasing of publicity photos that
are not in good taste. There has been a flood of such

AND John Barrymore believes that the old school
of melodrama makes actors. That sort of train-
ing nourished versatility, says John. He points to
brother Lionel and Paul Muni as shining examples.
He might have added that he once joined with Ethel
and Lionel on a barnstorming tour. And Lewis Stone
came to pictures via the hard and rocky route of a
San Francisco stock company.

KATHARINE HEPBURN, in an interview, re-
marks that the stage "improves one's acting im-
measurably." Well, probably few will quarrel with
that statement. Hollywood's raids on Broadway
theaters would indicate screen producers share thai
opinion.

Going back to Greta Meyer's comment, it would
appear that Europeans lay emphasis on preliminary
training, Americans on actual experience. I incline
toward the American method.

WHAT does an American movie star do when she
is presented to the Prince of Wales?
What would you do?

If you didn't do just the approved thing, very prob-
ably you would stir up no end of commotion and
comment, just as Greta Nissen did recently.

We're going to let you in on an interesting letter
written by Greta to a friend in Hollywood.

T was all a very stiff and formal affair," says
Greta, "and the English ladies curtsied deeply upon
the arrival of the prince. I, for one, did not curtsey;
being a foreigner, I did not feel I had to — but as I was
the only one in the whole room who did not, it stirred
up quite a commotion."

So we gather from Greta's letter that the best thing
to do when you meet a prince is to say, "How do you
do?" Leaving the nip-ups to the home talent.

IF your boy or girl gets into the movies, that proves
it is brighter than the average child. Miss Lois
Home, school-teacher on the Warner Brothers lot, has
made that discovery. The quotient 100 is used as the
basis of the average child's intelligence. Miss Home
finds that studio children rate a quotient of 109. She
bases her report on her work with .">617 youngsters she
has taught on picture lots.

his particular offering, "The Spice of the Program."
The books of one major studio are said to show that
these little films constitute twenty-five per cent of the
profits of the corporation. Yet aside from those in
which such famous personalities as Laurel and Hardy,
and Mickey Mouse, appear, the studios seldom pub-
licize these tidbits.

Surely, what is good enough for the public to accept
is good enough to advertise.

THE critics mostly say that they were disappointed
in Hepburn's acting in the stage play, "The
Lake." But if Sarah Bernhardt or Eleanor Duse had
won her reputation first in pictures and then had come
to Broadway, the critics would have been disappointed
in them, too.

The screen is the land of true fantasy. Those who
continue to call stage dramatics an art and motion
pictures an industry may choke on that statement.
Yet every person that is flashed on the screen — even
though he be but a bit player — takes on an importance
and an interest out of all proportion to reality. And
when Katharine Hepburn returns to Broadway, fresh
from such astounding triumphs as "Morning Glory"
and "Little Women," critics are likely to note the
absence of the screen halo

A goddess in the flesh, looking very human in make-
up behind the footlights, can never radiate quite such
glamour as when sitting, aloof, on Mount Olympus.

GEORGE RAFT was resting on the set of
"Bolero," between shots of his famous tango
with Carole Lombard.

"All right, George," the assistant director called,
"get ready for rehearsal."

"Why rehearse again?" asked George. "Let's do
it."

"Yes," snapped up Mack Gray, the Raft shadow,
who hasn't one thing to do with the dance or the
picture, "we want to do it while we feel in the mood.
We don't want to rehearse around all day. We're in
the mood to shoot it."

SHORT subjects are popular. In fact, the motion
picture industry grew up on that fare. In 1910, for
example, recklessly extravagant purveyors of screen
entertainment were giving as many as six films (each
a separate subject) for a nickel.

Some patrons didn't like the two-reelers when they
first appeared. And managers of the local houses
heard about that.

Today, New York City has theaters which show
only newsreels and other short subjects. Of course,
Walt Disney's Silly Symphonies, or other cartoons,
are part of the program.

IN practically every picture theater in the land,
"shorts" fill out the bill. They are, as one producer
has long announced on the screen in connection with

COLUMBIA is now, most definitely, in the major
league. There's a score of familiar names — in-
cluding some famous ones — on their roster.

Some, as John Barrymore, are signed for one
picture; others for several. Claudette Colbert will do
three a year. Gene Raymond has a three-picture
arrangement. As has also Elissa Landi.

AND read this list of names: Marian Nixon,
William Gargan, Edmund Lowe, Ann Sothern,
Mary Brian, Fay Wray, Jack Holt, Grace Moore and
Joseph Schildkraut, Richard Cromwell, Walter Con-
nolly, Tim McCoy.

President Harry Colin of Columbia has, in a re-
markably brief time, brought his company right up to
the front.

OXCE upon a time there was a little boy from the
slums of New York, who went away, one sum-
mer, to a Fresh Air Camp. And it was cool one night,
so the little boy crept out and stole the two blankets
off the little boy in the next tent. And the Camp
Master talked so kindly and reasonably to the little
blanket -pilferer, that the next night he stole only one
blanket!

The little boy was Eddie Cantor, and his companion
was Walter Winchell.

Kathryn Dougherty

1'iiotoplay Magazine fok March, 1934

Day-Dreams come True for

*loa44. • • with her Lovely
<^y CAMAY COMPLEXION!

Turn all your day-dreams into
fact! Don't miss the good times
that are due you! There's fun in
life for the pretty girls — for the
girls with Camay Complexions!

ALL LIFE IS A BEAUTY CONTEST

For — like Joan, the girl above —
you, too, are in a daily Beauty
Contest. At a party, a dance, as
you walk down the street — wher-
ever you go — your beauty, your
charm, your skin are judged by the

searching eyes of men and women. Pure, creamy-white and delicately fragrant, Camay
So get yourself a Camay Com- comes in a green and yellow wrapper, in Cellophane.
plexion — a skin soft as petals and
down. Then gallant remarks and
sincere compliments will be a
daily occurrence.

Camay, the Soap of Beautiful
Women, is your ally. Use it faith-
fully for one month, and very
soon you'll detect a new perfec-
tion in your skin.

Get a supply of Camay today.
The price is amazingly low!

Copr. 193? Procter & Gamble Co.

A M AY The Soap of Beautiful Women

Garbo's amazing personality has
kept her high upon the throne,
worshipped by millions, for over
a period of seven years. Will
her reign continue?

Is It Garbo

FOR over seven years Garbo has sat on her throne, aloof,
inaccessible, and mysterious as the dwelling place of
deity itself.

For over seven years her keen rapier of a hypnotizing
screen personality has been sufficient to ward off any ambitious
usurper.

But today Katharine Hepburn, wielding a smashing,
shattering mace of sheer dramatic genius, through a short
campaign of little more than a year's great acting, stands
challenging at the very portals of that heretofore secure
citadel.

Will she eventually overcome Garbo and wrest from her the
coveted perch by virtue of her genius, or will Garbo remain
invulnerable through her inexplicable, universally appealing
"something," her fascination which has conquered everyone
from the country plowboy to the cosmopolite — from the
miner's wife to the millionairess?

Which one is destined eventually to triumph — and rule?

Katharine Hepburn is probably the greatest actress ever to
come to Hollywood. She has proved beyond doubt (and there
were plenty of early doubts, including her own) that she can
throw herself completely into a characterization until she is
the person she portrays. There were skeptics after "A Bill cf

Divorcement," and more after "Christopher Strong," but most
of them capitulated with "Morning Glory." "Little Women"
thoroughly clinched the argument.

And so, although her first sensation was a controversial
sensation, her latest has amounted to universal capitulation.
Capitulation to her genius.

But can acting genius alone secure for her and hold for her
the supreme place on the screen? Can it overcome the mysteri-
ous but recognized force that is Garbo's?

Hollywood history says no.

BUT then, to repeat, Hollywood has never seen anything like
Katharine Hepburn.

It had never seen anything like Garbo. It has never seen
anything like Garbo since. Never seen such a matchless
personality.

And, heretofore, personality has been the precious metal
from which movie idols have been molded. The greatest, the
most enduring screen personalities have never completely
lost themselves in their roles. They have not been able to,
and still remain screen idols. Even such a finished dramatist
as George Arliss remains George Arliss, whether in the screen
guise of Disraeli, Voltaire or The Rajah in "The Green

Hepburn's acting ability marks
her as one of the finest artists
that ever came to Hollywood. Is
genius alone sufficient to make
her a monarch?

One rules with personality,
the other with artistry —
but only one can he queen

By Kirtley Baskette

Goddess." The incomparable Barrvmores remain Barry-
mores, with distinct Barrvmore gestures, inflections and
mannerisms, although able to create the feeling somehow that
no one but a Barrymore could have possibly played that
particular role. And so it is with every great screen idol —
Marie Dressier, Joan Crawford, Ann Harding, Chevalier,
Dietrich, Harlow — on down the list.

There are even great actors who consistently out-act the
stars in so-called "character roles," big and little roles. Walter
Huston, Jean Hersholt, Lewis Stone, Otto Kruger, May
Robson. But they don't become screen idols.

Personalitv — Garbo has it, if vou can limit her esoteric

charm to such a commonplace word. Personality on the
screen and off. Enough to create and maintain a legend.
Enough to weave about her a magic spell of mystery, which
continues to intrigue everyone because it is genuine, though
impossible to identify or touch.

Off the screen, Katharine Hepburn has apparently attempted
to construct such a legend of mystery, but that "something"
is absent, and instead of effectiveness, it has resulted in down-
right craziness. Her off-stage mysteriousness (and this is not
debunking, because it's common knowledge to Hollywood)
evaporated quickly, exposing pranks resembling those of
a schoolgirl putting on an act.

THE exotic lady from Sweden could do it, but not the madcap
from Brvn Mawr.

Hepburn simply can't be consistent in her oddities.

On her arrival in Hollywood she begged for seclusion and
privacy, but her outfits were enough to stop the proverbial
clock. She wanted to slip creepie-mousie around Hollywood
but she rented a spectacular foreign-made car to do it in, and
rode with her feet cocked up on the back of the front seat!
She wanted to be left alone — so alone — but she insisted on
standing in the middle of RKO-Radio's streets, or sitting in a

busy studio doorway, to read her
mail.

She went around the lot carrying
a white monkey, which she tied to
the desks of people she wanted to
plague. She gambled with the
publicity department whether she
would grant an interview or not.
She shooed photographers away
one minute and then took it "big"
with a wide grin for them the next.

She took an almost pathological
delight in allowing the wildest
tales to be broadcast about her,
without denial. She was supposed
to have several million dollars as a
rich New York heiress; she was
also terribly poor. She was the
mother of several children from her
different marriages; she had never
even been in love. She was this
and she was that.

The thing wasn't a mystery. Tl
was a gag. And gags are old stuff
to Hollywood.

CONTRAST this (and you can't
compare Hepburn and Garbo on
one single point — you have to con-
trast them) with the actual mystery
which surrounds Garbo even today,
after her long years under Holly-
wood's searching microscope.

At her own studio no one knows
anything about her. Outside of
one or two very close friends, no one
in the whole town has any faint
inkling of what she does, or why,
after her old-fashioned limousine
rolls out of the gates. Most of the
M-G-M employees have never even
glimpsed her. Other top notch
M-G-M stars are barred from her
set. She is the lady no one knows,
and she is the real McCoy.

She is not just odd, she is

Hepburn's artistry makes her roles great. In the
above scene from " Trigger," the movement of
her hands, the attitude of her body, her facial
expression, give the scene reality. She is an
actress, expertly playing her part. With Garbo,
it is the force of her own powerful personality that
makes her pictures great. Below, the moment in
"Queen Christina" is made dramatic because
of Garbo's hypnotic presence, rather than because
of acting technique

individual, to the nth degree.
Strikingly individual. Her coat,
turned up at the collar, her long
''Garbo bob," her mannish skirts
and rough clothes when they were
first aired were undeniably hers.
They suited her. They were odd,
but they fitted. She offered no
apologies for her eccentricities.
Her sphinx-like silence might have
been calculated, but it was effec-
tive. If her personal myth was a
myth, and an act, which is very
questionable, it has grown into a
reality — at least an accepted myth,
which is the next thing.

THE point is that off the screen
Garbo makes them like it and
Hepburn makes them laugh.
There's a lot of difference.

But on the screen — the difference
has narrowed down to a very thin
margin indeed.

Each captivates, devastates in an
entirely different manner, but each
does captivate, and each does com-
pletely devastate.

Garbo does so because she is
Garbo, and Hepburn does so in
spile of Hepburn.

There is no argument about the
fact that Hepburn was an unknown
quantity, even after "A Bill of
Divorcement." To some audiences
she was actually antipathetic.
They didn't like her. Her voice
grated, her manners were too posi-
tive, too masculine, too rough.
Her personality, mainly, was what
they were criticizing.

Xow we have the astounding
situation (very possibly the first
time in the history of the screen)
where an actress has swept every-
thing [ PLEASE TURN' TO PAGE 99 ]

Only Al
Wanted

to PI

The amazing story
of the making of
Wonder Bar"

By Wi Ilia m

F. French

IT'S a gay set— a scene
that delighted jaded
Broadway some three
years ago — now being
reproduced in thrice its
original splendor. A great
room, the center of which is
a glass-like dance floor,
circled by a hundred
brightly lighted tables,
sporting a brilliant floor
show, a teasing, tempting
orchestra — with Al Jolson
strutting his stuff before the
gorgeously gowned Dolores
Del Rio.

All about us are beautiful
women. We hear the rustle
of silk, the clink of glasses
and the restless rhythm of
youth and pleasure.

Close to the camera Di-
rector Lloyd Bacon is
stretched out in his canvas
chair, hat jammed down
over his eyes.

Facing him, their backs
to the famous "Wonder
Bar," which extends along
the far wall, sit Kay Francis,
Ricardo Cortez and Dick
Powell. They are joined by
the grinning Al and the smil-
ing Dolores. All five raise
their glasses to a toast.

Happy, happy set!

"Click," goes the still
camera. The players at the
bar change their pose — and
that is not all. Kay shrugs,

Dick Powell tried every way to get out of the picture,

and couldn't. So Dick sings the part assigned him and

good-naturedly takes the crumbs that fall his way

Dolores Del Rio and Al
Jolson are quite dis-
tressed about Mr. Cor-
tez! But Ric, and some
others in the cast,
would just as soon be
carried off the set and
never come back

glances about her and
settles back with queenly
indifference. Ricardo's
toothful smile straight-
ens into a thin, hard line
and friendly Dick Powell
grins sheepishly at his
director.

Meanwhile Al Jolson
edges a little forward in
the center of the group
and Dolores keeps dis-
creetly silent. The al-
most inevitable friendly
repartee that follows a
shot is strangely missing.

"Just one big, happy
family," I suggested to
Director Bacon.

"Yeah," he returned.
drily.

"But we are going to
get a good picture out of
this."

And there was more
than just prophecy in his
words — as the amount of
ni^ht work the players
did on the production
and final results prove.

In "Wonder Bar" Jolson keeps the spotlight. The lovely lady, of course, is Kay Francis.

Bacon happens to be the kind of director who backs his bag-
ful of tricks with a bull-dog grip; which wasn't a bad asset in
the making of "Wonder Bar," with Jolson intimating a walk-
out if he didn't get his own way, and Kay Francis expressing a
queenly hauteur, and Ricardo Cortez' smile assuming knife-
like sharpness — and with even Dick Powell besieging the office
with demands for his release from the picture.

But why? And why did the cheers of Guy Kibbee, Hugh
Herbert, Louise Fazenda and other members of the cast as-
sume the resonance of the well-known raspberry?

For the simple reason that no one on the lot wanted to play
in the picture and practically everybody in the cast was dragged
in. In fact, it was the grandest little shanghaing act ever

staged in Hollywood; which is saying a great deal. With
the exception of Dolores Del Rio, whom Jolson personally
picked and who has the juiciest part, outside of Al's own,
every player in the picture came to work in handcuffs, so
to speak.

The general complaint? Bad parts — or bits, as some of the
players claim. That, and Al's alleged inclination to go into a
huddle with the camera too frequently.

Without doubt, it is difficult for a stage star who used to
carry his own show almost single-handed not to hog scenes —
but you can't bat all the time in the big league. The other
players have to be let in on a little teamwork — especially if
they happen to be featured players and stars.

Photo by Charles Rhode?

While atop a camera crane, Busby Berkeley skilfully directs the lavish dance spectacle

To use Guy Kibbee's words: "It's no fun wearing the uni-
form if the other fellow's the whole band."

The grievance, however, is deeper than just that— for none
of the players selected felt they had parts that did them justice.
They were not all as nimble in dodging the call as was Warren
William, who, upon being informed that he was nominated for
one of the parts, merely raised his eyebrows — and took a little
trip to New York. There was nothing Warren would rather
do than play Kay's husband, but— er— not in "Wonder Bar."

Kay, meanwhile, had been told a little fairy story about the
really charming part which was being re-written for her, and
which Mr. Jolson was going to have built up big. Al, you know,
happened to own the story — the picture being made from his

New York show of the same name, which had a moderate run.

"I didn't like the part the first time it was suggested to me,"
explains Kay, "and after I got the script I liked it less. In the
first place, there was really no part there for me at all. Just a
bit — nothing more. It was a part any one of twenty girls on
the set could play just as well as I.

"Naturally, I told them I didn't want to do it. They in-
sisted— and I had to play it even though it was not re-written
into anything.

"No actress likes to play an insignificant part — especially if
it has no place in the script and could be cut out entirely with-
out hurting the story — but it is not the mere playing of a small
bit that I resent in this instance. [ please turn to page 111 ]

ID you ever wonder about
those eye-filling gowns worn
by the movie queens of Holly-
wood? Those sleek and shiny
ones, those ruffled and puffy ones,
those glamorous and seductive
ones? Whence they come? And
how and when and why?

Secrets of the

Well, you can bet your bottom

dollar on one thing. They didn't just happen like
Topsy. They're the result, those gorgeous clothes of
the screen stars, of long weary hours of fitting. Of
standing on one foot. And then the other. And
possibly the head before it's all over.
Those fitting room walls! Oh boy, oh boy! What
they could tell if they could talk! Those studio
designers! What they could tell a waiting world!
And won't, drat 'em! Except —
Well, it seems Carole Lombard was working on
one lot, and going over to Paramount to have
her clothes made by her favorite designer,
Travis Banton.

And the minute Carole left the front door, all
the little dressmakers and fitters and cutters
began flying about like mad, getting out the
Lombard frocks. They knew she was on
her way, for that loud, screeching sound
that any ordinary cit-
izen calmly dismisses
as a fire siren in full
blast, was just Car-
ole preparing to
enthuse over
Banton's new-
est creation.
Up the stairs
to the fitting
room, she
*.ty bounded.

'• (i rffr* nHf« ,| tm || fM» u '" M "" II "'I iiHII

Travis, get the beaded
As if evervone within

the
I—

Still screeching and still screaming,
dinner majigg ready, I'm on my wa\
two miles didn't know it already.

The beaded dinner majigg was brought out. "Travis,
squeals grew wilder, "it's gorgeous. It's gr-rand — oh
Travis — "

The fringed negligee was next.

The screaming increased. The fitters, practically deafened
and, by this time, almost as hysterical as Carole, flew madly
about. Everything from an unusual scarf to a bit of lace, be-
came another reason for wild bedlam.

Well, by the time it was over and Carole was blithely on her
way, the fitters were prostrate, while Banton held his throbbing,
aching head in the water cooler.

BUT do they love it? And do they purposely design the
loveliest of all clothes for the enthusiastic, to say nothing of
the slightly feverish approval, of Carole?

Hopkins, little Miriam, of course, sends everyone screaming
for the nerve tonic by the time she appears. By the time
Miriam is through, at least four fitters and one tailor are seized
with the heebie jeebies and can't stop twittering like birdies
or something.

It's quite awful.

There she stands. A tiny little blonde honey.

"Travis, it's lovely. But here at the hem — " the fitters
spring to the hem — "the sleeve is too loose" — they spring to
the sleeve — "the seam — the hem — oh, I love the neckline —
the back is too low" — they leap to the back — "the jacket is" —
they leap jacketward — "the belt" — well, when it's over, the

" Stop! " Norma cried, when the green
dye bath was finally ready. " Maybe
white is best after all. Or do you
think the green, or maybe — " In the
end, the gown was water-melon pink.
And Norma, looking very charming in
the color, wished she had decided on
blue. Or maybe green

Fitting Room

nating nose veil that accom-
panied it?

Let me tell you about that.
Feather by feather, that glam-
orous headpiece came to life.
One feather was added near

Rip, sew and gossip
— there are screams
and jitters when the
stars try on clothes!

By Sara Hamilton

I LL I S T R \ I K I) 1! 1 I K A N K D O B I A 5

leaping fitters go leaping about the studio like kangaroos,
jabbing pins into people and things. Miriam has the dress on
upside down, one leg through an armhole, the other through the
neckline. The jacket is now a train and Banton a bewildered
maniac.

And Miriam loves it. Adores it. Upside down or not. Leg
in armhole or not in armhole.

She thinks it's too elegant. And that always helps.

But Dietrich. Now we're going to let you in on something
very special. That glamour, that allure, that — whatever the
heck it is — is manufactured right in Travis Banton's fitting-
room. Made, mind you, like so many washing machines,
and isn't that "sumpin."

Remember the knock-'em-dead coque feathered tur-
ban she wore in "Shanghai Express?" And the fasci-

the left eyebrow. It was sur-
veyed by Marlene, by Ban-
ton, by the fitter, by the
tailors and, last but not least, by Joey Von Sternberg
himself. It should be, maybe, just a sixteenth of an
inch to the right, someone would suggest. So the
feather was placed one sixteenth of an inch to the
right and again it was previewed enmasse by the
anxious audience.

After something like two and one half days on
one feather, another would be added with the
same performance all over again. After four
weeks, three days, seven hours and three-and-
one-half minutes, all the feathers were placed
at their most alluring, provocative angle, and
everyone was ready for the nose veil.

[ PLEASE TURN TO PAGE 104 ]

Clarence Sinclair Bull

IT took lots of persuasion to get Otto Kruger off
Broadway into movies. But once there, he made up
for lost time! Kruger played leading roles in six
pictures during 1933 — his first year in Hollywood.
His next is the movie version of "Men in White"

Little Girl,
Don't Cry!

Hollywood deals harshly with
wild-eyed youngsters who
want to be slinky heroines

By Jeanne Hayes

IF you've ever seen a dream walking, it's little Mary
Carlisle, as sure as you live.
Mary with those China blue eyes, round apple dumpling
cheeks, a little nose that turns slightly up, and hair two
shades off the gold standard.

All of which is just too bad for Mary. For looking like a
doll is about the worst thing that can happen to any little girl
within whose girlish bosom yearneth the desire to be-eth a
great, heaving, husky-voiced, slinky-limbed heroine. For
Mary will dimple in the comicest places and giggle at the
wrong times.

"And what chance have I," Mary says, "when people keep
calling me 'Dollv'? Fll bet no one ever called Garbo,
'Garby.'"

Seriously though, and no kidding, it is something to think
about.

For here's this swell little kid with a marked degree of talent,
a tremendous capacity for taking it on the chin, a willingness
to work, and, to top it all off, a burning, seething, flaming
ambition. And she has to look like that. Dimples in her knees
and an ache in her heart.

RIGHT now, of course, it's cute. That roly-poly business
and the little girl giggle. But Mary is going to be a big
girl any day now. Mary is nearly twenty-two. Mary will
just have to grow up.

So little girl, what now?

Yousee.Mary could never be happy off a motion picture lot.
It's all she's ever really known since she was fifteen. It has
taken the place of those fudge party, pillow-fighting days of
boarding school. Where those lasting, undying friendships are
formed. It's taken the place of the wild excitement of a
college dance. The whispering and sweet romancing of a girl
in school. It's the only school so many of these little girls of
the screen ever know. And it's why they are never happy in a
world outside motion pictures, once they've had the slightest
taste of it. I've seen them. Other wide-eyed little blondes of
the screen who have come and gone. And then stood, pitifully
unhappy little girls for the rest of their lives, outside looking
in. You could name a round half dozen of them yourself, off
hand.

Striving, weeping, dying within. Youth, happiness, every-
thing hopelessly lost in the struggle, that grows harder and
harder with the Hepburns, the Gairbos, the Dietrichs, taking
their places in the sun.

Brave, gallant little lost girls of the
screen.

Pitiful isn't it? Dimples in her knees,

And so we look at Mary, her yellow ^^nL^l

cur s bobbing, her giggles echoing up forget her ambitions-

and down the studio lot, meeting all not even while dancing

rebuffs and disappointments like the with Bing Crosby in

[ please turn to page 107 ] " College Humor"

They, Too, Were

"f^j *^^" ■

'jr*v<

l/A

startled into semi-shame at its own
forgetfulness, looks around to check
up on the lost legion of stars that
were. At such times when a player,
whose name once was a toast and
still is a tradition, bobs up shorn of
the glittering robes of stardom.

True, some of those who tasted
glory are doing well enough in
careers far removed from greasepaint.
Others are having a hard, heart-
breaking time of it, trying to stay
in the profession which remains their
very life's blood. Some have new
philosophies — others live in the past.
But all prove that Fate, where
careers are concerned, plays few
favorites in Hollywood.

Fifteen years or so ago, the big-
gest star on the Universal lot was
pretty Ella Hall, still remembered
for the film, "Jewel."

Today, Ella Hall is a saleswoman
at the most exclusive women's dress
shop on Hollywood Boulevard. And
she's a very good one, too — so good
that all the stars' trade contacts are
in her charge.

Ella was said to have been in love
with Director Robert Leonard, but
vivacious Mae Murray, coming out
from the "Follies " stole him away.

Ralph Graves, once a movie hero, is now
a writer. This picture was taken after
he married the late Marjorie Seaman,
left. The other lad}' is Colleen Moore

WHEX Clara Kimball Young was
discovered recently living in a
shabby, four-family fiat in Los
Angeles, financially pressed for
the necessities of comfortable existence,
Hollywood shuddered when it recalled the
Clara Kimball Young of only yesterday.

Then she was the magnificent star whose
city estate was one of the show places of Los
Angeles. Then she was the best dressed
actress in Hollywood, whose S50,000 chin-
chilla coat established a legend of sartorial
splendor.

It seemed that Clara had suddenly been
harshly dealt with by life, by the Fates
of Hollywood who spin destinies with small
regard for feelings. But, of course, it wasn't
sudden at all— just seemingly to Hollywood,
which is so busy with exciting affairs of the
moment that it hasn't time to look back very
often.

Someone outside of Hollywood had to
tell Hollywood about Clara Kimball Young.
From that she got her first screen job in
many, many months — the part of Jackie
Coogan's mother in Jackie's film comeback.
It was a job she needed badly.

It is at times like this that Hollywood,

Clara Kimball Young, at one time most glamorous of stars, was re-
cently discovered in a shabby Los Angeles flat. The old fellow re-
ceiving the drink is George Fawcett, once famous for his grumpy roles

Read the roll of
famous names of
other days. What
do we find these
folk doing now

By Kirtley

Baskette

So Ella married Emory Johnson, an actor-
director, who failed of complete success.
When their children needed additional sup-
port, she took, a job behind the counter and
made good.

When Bebe Daniels and Mrs. Skeets
Gallagher opened their new dress shop in
Westwood Village, they wanted Ella to take
charge of it. But her employer wouldn't let
her go. She was too valuable. She was
reckoned a star again — but this time a star
saleswoman.

Business always has attracted stars to
whom the screen seemed to offer nothing

Many will never forget Milton Sills and Katherine MacDonald in
"The Woman Thou Gavest Me." Her movie days over, Katherine
went into the cosmetic business. Sills died in 1930, after a heart attack

Francis X. Bushman was idolized, and
all women envied Beverly Bayne. But
whence offered to marry any woman who
could support him, no one took him up

further. Some have developed latent trade
talent and achieved success. To others, the
venture has meant the loss of what financial
security they had left.

Kathleen Clifford, "Pretty Kitty" Clif-
ford, who at one time was Hollywood's most
beautiful blonde ingenue and, later, leading
lady, started and operated a chain of florist
establishments in Hollywood and Beverly
Hills until the depression came along and
forced her to give them up. Now she runs a
beauty shop, a more modest business, but
one which she is making yield her a living.

Katherine MacDonald, the stately "Amer-
ican Beauty," whom President Woodrow
Wilson nominated as his favorite of all
screen stars, launched her own cosmetic shop
with some success, while Florence Lawrence,
the famous old "Biograph Girl," who was
the biggest star of the biggest company of
its day — even before Mary Pickford had
ascended to her throne— failed not long ago
in a beauty salon venture. Now she lives
in an obscure section of Hollywood, com-
pletely out of the scintillating world.

Dorothy Davenport Reid was a big star when her much more
famous husband, the late Wallace Reid, was doing bit parts.
As he ascended in the movie firmament, she retired to the real
life role of wife and mother, but, upon his death, emerged
again. With the substantial means left by Wally she added to
her personal fortune, but made the mistake which has spelled
ruin for more than one star. She turned producer and took
heavy losses, which ate up her fortune, and forced her to make
a living managing an apartment house in which she had a half-
interest.

Of late, her ambition has been to mold the screen career of
Wally Reid, Jr. ; and as for herself, she has fought back to a
place in Hollywood as a scenarist and director, recently
directing "The Woman Condemned" for Willis Kent, an in-
dependent producer.

YOU recall how Charlie Ray lost a large fortune producing
"The Courtship of Miles Standish." The "Ince wonder boy,"
who had a tremendous following as America's country cousin,
had suddenly gone sophisticate, donned tails and a top hat
— and failed. He tried again and again. Several times during
the past few years he has attempted a feeble comeback, but
Hollywood has turned a cold shoulder in his direction. Vaude-
ville engagements keep him alive, although every year a rumor
trickles through that Charlie is about to stage a comeback.
Now no one even believes the rumor.

But even before Charlie had definitely arrived as a star,
Monroe Salisbury was devastating hearts as the screen's
perfect lover. Marguerite Clark sought him for her leading
man in several of her pictures, and Marguerite Clark, you will
remember, was running right along-side of Mary Pickford.

Today, Monroe is night clerk at the Warner-Kelton hotel in
Hollywood (owned bv Pert's folks) and at one time had an
interest in the place, while Marguerite, retired for many years,
is the wife of a wealthy New Orleans man, and her Southern
mansion with its carved glass door on magnolia-scented St.
Charles Street has few things in it to remind her of her star
days.

Marguerite Clark was the sweet, nice girl of those early days,

Raymond Griffith (center)
was a favorite in pre-talkie
days. His inaudible voice
hurtled him from top-rank.
Now he is Zanuck's ace
writer at 20th Century

but the wicked vampire, the
sensuous siren, was Louise
Glaum, another Thomas Ince
star who scored a sensation in
a sticky picture called "Sweet-
heart of the Doomed."

Luring men to their down-
fall was her forte for the
camera then, but today it's lur-
ing customers to the box-
office, for Louise with her hus-
band operates a movie theater
in National City, California,
not far removed from the
honky-tonks of Tia Juana.

They don't make much mon-
ey, because there aren't very
many people in National City,
but there, where Louise is said
to be happy and healthy, there
isn't the tragedy of hanging on
when the crowd has passed by.

Perhaps the most pathetic
side of Hollywood is presented
by those who stand in the extra
lines and sit on the set watch-
ing new stars receive the adula-
tion— the attention that once
went to them. Ethel Clayton
has stayed in Hollywood, turn-
ing to the studios when bad
fortune overtook her. Can a
star of her former importance
relish the tiny bits she must
play?

Recently, on the set of
"Bolero" at Paramount, Eli-
nor Fair, the beautiful girl
who played with Bill Boyd in
the memorable "Volga Boat-
man" and then married him,
and Julanne Johnston, once
Douglas Fairbanks' leading
lady, sat practically unnoticed
in their extra-bit capacities
while Carole Lombard and
George Raft held the spotlight
they used to know.

Mae Busch, Mary MacLaren,

[ PLEASE TURN TO PAGE 94 ]

Today, Francis Ford works as extra, when he gets
a part, and watches others in leads he used to play

JjD

■ *v

■n

■ * ..

JANET GAYNOR goes Southern and turns back the years in "Caro-
lina." The photographer caught her in one of her most demure
moments, resting on the studio set and looking very charmingly old-fash-
ioned. Yes, suh, her new role, with its rustle cf silk and romantic appeal,
should be highly pleasing to Miss Gaynor's enormous personal following

Ernest A. Bachrach

"]\/TY darling, what is
l^J-the matter?" Rob-
ert Young seems to be trying
to administer tender solace
to Katharine Hepburn in her
sadness. This scene is from
Katie's latest photoplay,
"Trigger," the story of a girl
of the Kaintuck mountains

THIS scene from "As
the Earth Turns" is
laid in New England's coun-
tryside, and Donald Woods
— you've heard of him on
New York's stage — makes a
pretty picture of ingenuous
love with gray-eyed Jean
Muir, the farmer's daughter

' 4

"•V**"

MY, my, how those Con'
tinental lads can make
love to pretty American girls
and how pretty American
girls can respond! At any
rate, Jeanette MacDonald
and Ramon Novarro are hav'
ing a very delightful time in
"The Cat and the Fiddle"

CAN she believe him?
Well, Claudette Colbert
looks as though she does.
Take that dreamy expression
in her dark, French eyes!
And Clark Gable turns to
see if his wooing is going
over. You'll find out in
"It Happened One Night"

Ernest A. Bachracti

THIS striking suit of silver lame accentuates the loveliness of Irene
Dunne, now to be seen in "Transient Love.,, In private life Irene
is the star of a "long distance" marriage. Her husband, Dr. Francis Grif'
fin, is a New York dentist. One or the other is always on the jump be
tween Hollywood and New York. Absence seems to whet their fondness

By Ruth
Ran kin

He won't act in a
play that's "written
for him." Don't try
to "type" him. It
can't be done

What's This Muni Mystery?

that

some

maintain he is?

NOW some are calling Paul Muni Tc 1-,^ +l-./=k ^TovhA

the ''Garbo man" of Hollywood.
A legend has been built around
him — a legend of temperament
and aloofness that would establish him as
the masculine counterpart of the esoteric
Greta.

His independence occasions no little
awe. His refusal to mingle with the crowd, the manner of his
stealing away from Moviedom whenever the spirit moves him,
the way he dictates production plans — -these and other high-
lights of the Muni legend keep Hollywood prattling over its tea.

"Some one was going to play the masculine Garbo sooner or
later," say the prattlers. They have figured Muni as more
nearly filling the role than that other aloof and independent
gentleman, Ronald Colman.

As for Muni, " Garbo Man" or no, there is one thing he will
do: He will talk about himself, will give his explanations for
being what he is.

"I am always worrying, always tormented, when I am in the
midst of a picture— yes, and long before, preparing. I have no
mental peace. Physically, I am not equipped to mingle. At
the end of a day, I have not enough strength left to go out.

"I did not start out in life to be con-
vivial. To begin now would be an affec-
tation. I have no small talk.

"Not that I wish to appear a highly
mental person. I do not rate any higher
intellectually than others.

"My mental calibre is simply different.
It is not pretentious. I value simple,
normal things most highly.

"I know actors less than any one, although my own family
and my wife are of the theater. I mean, as Hollywood views
knowing actors. It seems to me they meet, they immediately
ask what the other fellow is doing, each proceeds to explain at
some length. But frankly, I cannot think they are truly
interested.

"Then, the subject exhausted, they look at each other with
a great deal of pathos — and long for an escape.

"I am ungainly in a gathering of graceful, social persons. I
cannot hop right in with just the right degree of informality
and ease. I don't know the approach. I don't blend.

"I cannot exhibit myself, except when outside myself. I
mean, except when under the refuge, in the complete disguise,
of a character. [ please turn to page 100 ]

YokKA nnouncing

The Monthly
Broadcast of

"Well," laughed Doug easily, "I couldn't
think of a finer gentleman for Joan. I'm very
fond of Franchot, myself." And with the
same easy smile, he walked away.

A NEIGHBOR'S little girl, drag-
"^^ ging a battered doll, wandered
into the Bing Crosby home the other
morning while the nurse was bathing
Bing's young hopeful.

"How long have they had that
baby?" inquired the visitor.

"Oh, about seven months," ans-
wered the nurse.

"My goodness, but you've kept
him nice !" admired the young caller.

TT'S no secret that Al Jolson is doing every-
thing in his power to get Ruby Keeler to quit
movies cold. Warner Brothers have already
felt the pressure of Al's influence on Ruby.

Al declares he doesn't want Ruby to be tied
up to a contract. He wants her to be free to
come and go. But a lot of people feel Ruby's
rapid rise has been a little too much for Al.
After all, one star in a family seems to be the
rule these days.

A TAYBE Mae West actually did start some-
thing. At any rate, the millennium has ar-
rived. Two actresses in Hollywood have been
ordered to put on pounds. Claudette Colbert, i;i
training for her role of Cleopatra, has some fifteen
to assemble to charm the voluptuous Ptolemy.
It seems that Cleo was a little Westish, and
Caesar and Antony liked 'em that way.

It's a long time between lunch and
dinner. So Clark Gable thinks. Con-
sequently Mr. Gable was a regular
customer at the hot-dog wagon that
stationed itself near the set of "It
Happened One Night." Clark co-
stars with Claudette Colbert

SAY what you will, the Bennett girl is fair.
Watching her husband's picture, taken in
far-off Bali, the credits flashed on the
screen . . . "Produced by the Marquis de la
Falaise." Then the next, "Directed by the
Marquis de la Falaise and Gaston Glass."

Nudging Gaston in the darkened room,
Connie said, "You know a lot more about
directing than he does, and you well know you
did most of it. Put your name first!"

"LJOLLYWOOD is chatting about the change
in young Doug Fairbanks since his sojourn
in England. Instead of a nervously pacing
rather unsure-of-things young man, Doug has
gained enough poise and calmness to last him
the rest of his life.

"Are you going to let Franchot Tone steal
Joan away from you?" one reporter asked.

Ann Harding and her little niece, Dorothy, chose a quiet corner when they

went to lunch at Sardi's, but they couldn't escape the cameraman. Ann's

own child, Jane Bannister, is about the same age as Dorothy

Carole Lombard is drinking cream to round
out the figure after "Bolero" reduced her to a
nub.

"D OSEMARY AMES, one of Fox's
■*■ new contract players, importation
from England, is still a little confused
about Hollywood.

The publicity department brought
a magazine interviewer out to see her
the other day.

"Have you been interviewed be-
fore in Hollywood, Miss Ames?"
queried the scribe.

"No," replied the actress, and then
brightly, "but an insurance salesman
called yesterday !"

TN "Queen Christina," Greta Garbo and John
Gilbert have a rendezvous in an inn. To
Christina, all of the inanimate things in their
chummy room become very dear, due to their
association with her romance.

One sequence consists of Garbo moving
about the room, caressing various objects,
while Gilbert watches, silently. She takes her
time, too.

To some her every motion seems as graceful
as a dancer's — a joy to behold.

Others are impatient, or were when the
sequence ran so long at the world premiere
of the film in New York.

At that showing, irreverent ones in the audi-
ence snickered when Gilbert's well feigned
curiosity finally stirred him to ask! "What are
you doing? "

The "Queen of Sheba"in her dressing-room — with Herbert Mundin — doing

her make-up! Betty Blythe is back in pictures after an absence of years.

She will be featured with Mundin in "Ever Since Eve"

The camera can make midgets of us
all — if the angle is right. And this is
how Leslie Howard photographs when
the camera looks down on him. The
picture was taken aboard the Aqui-
tania, on Howard's recent return from
his native England

T\ 7ARNERS suddenly discovered that they
needed Lyle Talbot for another scene for
"Mandalay" — and needed him real badly.
But he couldn't be found. After much probing
around, it was discovered that he had started,
with the Countess di Frasso, as guest at a
ranch. They finally hit on the expedient of
broadcasting for him — that brought him back
a-running.

flUY KJBBEE took his wife and
^"little girl out to luncheon at the
studio the other day. As he was
reading things from the menu, little
Shirley stopped him with the inquiry,
"Daddy, what's a croquette?"

"One man's meat," answered papa
without even pausing to think, "is
another man's croquette."

TT looks as though Henry B. Walthall has the
all-time screen record of them all. The
veteran Little Colonel of "The Birth of a
Nation" revealed recently that he has played
in no less than six hundred pictures in his
career, spread over some twenty years.

OHADES of a bygone glamorous day came to
^mind the other evening when Mae Murray
did a solo "Merry Widow" on the floor of a
smart New York night club. Mae got up to
dance when the orchestra played that waltz
and, when she was recognized, the dancers
backed off, leaving the entire floor to the
terpsichorean art of the famous dancer.

"\X7ELL, you can take it or leave it
— anyway, a certain young lady
couldn't rehearse her dance in
Paramount's "Bolero" one day, be-
cause she had contracted a bad cold
sitting too near a fan. Her name
is Sally Rand !

TF you've ever seen a small boy suddenly dis-
covered by his teacher doing something he
shouldn't, you'd be reminded of that guilty
expression in getting a load of Max Baer the
other afternoon holding hands with a blonde
cutie. Max was in a little hideaway restaurant
where none of the Broadway crowd ever go

Two Bennetts were cornered by the
camera at Colleen Moore's party —
Barbara and Joan. It's rumored that
Barbara is going back into movies. If
so, the two blonde Bennetts may have
sisterly brunette competition

T\ 7ELL, maybe Jeanette MacDonald is put-
ting on a little weight, as one of our lead-
ing daily columnists recently pointed out
carefully. But the French like them that way.
Anyhow, at a very dignified ceremony con-
ducted by the French consul, Henri Didot,
Jeanette was presented with a scroll which ap-
pointed her to a vice-presidency in the Alliance
Francaise, one of the oldest French Fraternal
institutions. Because Jeanette is the most
popular American picture star in France, that's
why.

"\ 7ICTOR JORY once drove a taxi in Los
Angeles. At the end of the first month he
had taken so many of his friends riding, he
owed the company $2.60. So he took up
acting.

A LTHOUGH they had two marriages within
a year — enough, you would think, to con-
vince each other they both meant "sure-
enough," Sidney Fox and her writer-husband,
Charles Beahan, have cut the nuptial knot for
keeps.

Sidney, who was somewhat of a darling at
Universal, may return there to resume her
screen career, abandoned for the domestic role.

IT AY FRANCIS rushed out to a lonely little
spot on Long Island and went into hiding
the moment news of her anticipated divorce
became public. And is her face red after all
those things she said not so long ago about
"how to hold your man."

Here's one little girl that has plenty of protection! At least, while she's

playing ice hockey. It's Dorothy Lee, an ardent devotee of the game, all

dressed up to take on any team at the Ice Palace in Hollywood

when, zippo, a news hound came up to him and
said hello. Max blushed — honestly — and
squirmed about a little, then blustered some-
thin" incoherent, while the blonde grinned.

TF Claire Trevor's relatives ever begin moving
in on her, she will have to take over a hotel.
Claire has twenty-two first cousins, and that's
just a starter.

A XD a very well chaperoned honeymoon
Gary Cooper had with his bride. Her
parents and his were with them most of the
time.

"\X70ULD you like to hear Groucho
Marx's conception of "The Last
Round-up"?

"Many a night," jitters Prof. Marx,
"have I bought the last round up in a
Hollywood penthouse speakeasy."

"L-TARRY GREEN, inimitable comedian, as
he came out of the studio gate, ran into a
group of children assembled there to obtain
autographs from the outcoming stars.

His arrival caused some silence, and finally
one little girl approached him dubiously.

"You don't look like a movie actor," she
said, "but I'm not taking any chances. Sign
here."

On your mark — get set — ready — go! George Raft loves his work so much,

he remains ready to jump onto the set at the director's bidding. George

is ready here, to leap into one of the last scenes in "Bolero"

A trio of sisters — Sally Blane, Loretta
Young and Polly Ann Young. Polly
is the only one who isn't in the movies!
If people will get in a dither over roles
and contracts — well, Polly leaves it to
her sisters

J( ATHARINE HEPBURN was very snooty
to the Washington newspaper men, but she
says now it was all a mistake. She didn't have
the faintest idea that Jed Harris, New York
producer of the play she is now doing, had
specially invited the reporters to call on
Katharine at the station. Always remember,
Katie, a reporter is a reporter wherever you
find him — whether he's had a special invitation
or not!

/^HARLIE RUGGLES was sick in bed with
^^*a cold for a few days. But sister-in-law
Arline Judge says she knew he was getting
better when she caught him trying to blow the
foam off his medicine.

" A LL things come to her who
■^^ waits," says little Joby Arlen.

"It took me seven years to achieve
a baby — and nine years to get an en-
gagement ring!"

Dick Arlen broke down with a
grand emerald-cut diamond for a
Christmas present.

"CAN dancing pays. Of course, a lot depends
on the lady behind the fan. Anyway, Sally
Rand has invested the proceeds from her
Chicago Fair fan-dance episode in a 15-acre
orange grove at Glendora, California. Her
mother has been installed as "boss of the
ranch," and Sally spends her week-ends out
there.

[ PLEASE TURN TO PACE 96 ]

Green-Eyed
Jealousy

When stars stoop to trivial
personal enmities, the whole
industry gets the jitters

This team was a hit in "Love

Me Tonight," but Maurice

Chevalier has no love for work

with Jeanette MacDonald

DID the long arm of
Hollywood's famous
jealousies actually reach
into Mexico to prevent
the amicable settlement of the
argument between Lee Tracy
and the Mexican government
and to stir up additional trouble,
in this way becoming instru-
mental in the cancelling of the
popular star's contract?

Newspapers reporting on the
"late unpleasantness" stated
that "friends of Tracy said they
blamed his predicament in part
on professional jealousy of other
actors who, they alleged, could
have avoided much of the trou-
ble if they had wanted to. They
also declared other actors caused
the investigation to be reopened
after Tracy was released the
first time."

If this is true, then is it not
time jealousies of this type were
stamped out, or at least muzzled
so that their rabies cannot infect
the entire industry? Of course, there are those who claim pro-
fessional jealousy does more good than harm, as it fosters
greater individual effort on the part of the stars and inspires
them to do their best work.

Others, however, believe that fair spirited competition would
actually wipe out jealousy, especially jealousy of the type ex-
pressed at the Mae West opening in Hollywood of "I'm No
Angel."

The premiere at Grauman's Chinese Theater was to be a
great affair, with numerous bright lights, celebrities, masters of
ceremonies, radio hook-ups and impromptu talks by stars.

So the radio announcers were all set to do a lot of introducing,
but as the cars pulled up to the curb, and the great lights made
night into day, and the crowd was surging restlessly, they
looked in vain for the stars who were to cluster about the
microphones.

Then began the combing of the lobby, the theater and even
the neighboring drug stores for the missing celebrities.

Was it nice of Miss Tobin to raise havoc with Joan's picture, "Goodbye Again? "

And all Hollywood snickered — and giggled — and grinned.

Then the truth came out. The stars weren't surging with
the general public to see Mae strut her stuff. Not only were a
number of stars from other studios "not interested," but it was
reported that it took heart-to-heart pleading to bring the stars
out from her own lot.

Why?

Jealousy. Good, old-fashioned, dyed-in-the-wool jealousy.

MAE had too much of everything for them," they tell us,
"and the other stars couldn't take it. Later on, they
sneaked in to see the picture, but they were too jealous to
show Mae the courtesy her ability deserves."

Whether it was jealousy, or whether they all happened to be
working cross-word puzzles that night, exceedingly few film
celebrities accepted Mae's invitation to "Cm up V see me
som'time."

Jealousy in film land is often expressed in subtle ways, and

double-edged retorts. Sweetly, and with a
smile — but below the belt, just the same.

1 here was fear of a jealousy between
Dietrich and West, and dread at the
thought of another situation like that be-
tween Gloria Swanson and Pola Negri.

But Mae, it seems, has a way of shed-
ding unpleasant subjects with a shrug and
a wisecrack.

When the absence of stars at her open-
ing was brought to her attention, she is
reported to have shrugged and retorted:

" Maybe they figure seeing this picture
would come under the head of home-
work."

Not all stars regard expressions of jeal-
ousy as lightly as Mae appears to, and in
some cases old feuds have smoldered for
years, and been carried from studio to
studio. They extend throughout entire
careers and into the lay world after their
participants' picture days are over.

AND, strange as it may seem, half the
time the parties to the jealousies do
not, themselves, know what started them.
They seem to grow from nothing into
something small enough to be merely an-
noying, or big enough to menace a career.

When asked once of the reputed jeal-
ousy between herself and Lilyan Tash-
man, Constance Bennett is reported to
have replied: "That is beyond me; I don't
even know the woman." Yet it is gen-
erally believed that neither will go to a
party if the other is invited.

Without doubt, most Hollywood jeal-
ousies are started through misunderstand-
ing and gossip.

It takes little to give birth to jealousy
in the film colony. Many are holding their
thumbs, awaiting the outcome of Kay
Francis' statement that she can think of

The Jimmy Cagney-Eddie Robinson rivalry is keen
but friendly. Not so with all men stars, however

Jealousy kept the stars away from the opening of "I'm No
Angel." Mae didn't care! She fixed them with wisecracks

nothing more tremendously unimportant than being the best-
dressed woman in pictures. It seems hardly reasonable that
Kay meant that as a "dig" at anyone, but some are wondering
if the proud Lilyan may not see it as a gauntlet tossed to her.

Joan Crawford is said to have suggested that a picture of
Jean Harlow be taken from the set on which she was working.

" What's the idea of putting other stars' pictures in my set? "
Joan is said to have demanded. Needless to say, Jean's picture
came down, pronto. That, however, does not necessarily in-
dicate an outburst of jealousy.

What causes these jealousies? A number of things — most
universal of which is a healthy functioning of the law of self-
preservation. This law is all powerful in a motion picture
studio where a star's life is short and uncertain, at best, and
where extras sky-rocket into favor almost overnight. Where
every newcomer is a potential threat. Hence professional
jealousy.

Nor have the stars a corner on jealousy — as any casting
director will tell you. Over at Central Casting real diplomacy
is needed to keep extras from giving battle over the assignment
of "calls." Bitter jealousy among the extras is a matter of
amusement in Hollywood, but the "misunderstandings" among
the stars keep the entire industry in a case of "jitters."

You may think men don't go [ please turn to page 117 ]

Sing. Hollywood

TIDDLE de iddle boom de aye, tra la la la hip hooray!
It all started with the advent of the musicals. And
with the musicals came the necessity for songs. And
songs and songs and more songs. They couldn't import
song writers fast enough to fill the orders. So what happened?
Overnight the place was alive with people who didn't know
one note from another writing boo boo boo boos and do dum
e day doos.

Actors sang, lawyers sang, bakers sang, doctors sang. I
sang, he sang, we, you, and they sang. It was terrible. It
still is. And growing by the minute.

Perfect strangers run up hallooing to other strangers:
"Mister, wait. I've got as far in this song as 'Oh, night in
June, under the moon,' and now where do I go?"

"Well, you go three blocks to the left and one to the right.
In My Old Kentucky Home Kosher Delicatessen, there's a
wiener stuff er who knows some swell words for 'moon' and
'June.' New hot stuff like 'baboon' and 'buffoon.'"

And like the wind the stranger is off for the wiener stuffer.

Blythe ladies trip aboard the trolley cars and with a gay
little tune sing:

"Mister Conductor, here's my nickel.

"A transfer, please, and don't be fickle.

"How do I get to Fifth and Main?

"Let's all join in the sweet refrain."

Milkmen, at early dawn, rush up to movie star's stucco,
out-of-lucko, hillside homes with

"Sleep on, lady, have your dream,

"While Cupid brings your milk and cream."

T* **\

Which isn't so hot for just then the fair dreamer slithers up
to the front door and answers:

" 'Ittle Cupie, hoopy doopy,

"Mustn't be so gosh darned snoopy."

And anoints the singing milkman with a little whipping
cream in a manner in which he has never before been
anointed.

Why, once upon a time, tablecloths in Hollywood were used
to cover luncheon tables and a lot of monkey business, but now,
alas, they are used mainly and insanely to write songs on.
More theme songs and current hits are written on Brown
Derby and Vendome tablecloths than a Bus Berkeley cutie
could shake a leg at.

For instance, people are no more seated at a lunch or dinner
table than out come the pencils, pens, crayons, water colors
(you find the water color type in every profession, these days) —

&*"

/»

anything that will make a mark, and like fiends, they go
to work, batting out a song.

Waiters hover near, giving suggestions. And darn
good ones, too. In fact, no Hollywood restaurant will
have a waiter these days who doesn't know what
rhvmes swell with a lot of words like "June," " Croon,"
"Baby LeRoy," and "Warner Brother-First National."

Sing!

By Sara
Hamilton

ILLUSTRATED BY
FRANK DOBIAS

And can skip with the agility of a mountain goat from three
fourths time to a teasing rhumba in nothing fiat. They may
not be so hot on the onion soup pouring, but they're there on
their pianissimos.

So many swell little numbers were actually written out on
Hollywood tablecloths, the, cafes decided to dispense with all
laundry work and keep the cloths intact, filing them away
carefully for future use, according to their subject matter.

For instance, all songs relating to love were filed in one cabi-
net marked LOVE. The various drawers were marked "sex,"
"passion," "Gary Cooper," etc.

All songs concerning matters such as "When I'm gonna
away, you'll be sorry, you two-
timing papa, you," were simply
listed as "walk-out knock-
outs."

Many a studio in the midst
of a musical foolsical would
hurriedly 'phone over to a popu-
lar cafe and say " Quick, what-
cha got that will fit in some-
where between Jimmy Cagney
smacking the leading lady on
the kisser and the scene where

Unless you can hum a perfect
rumba without ever going flat
— and know that stupid rhymes
with cupid — you're a flop in
this hey-hey day of musicals

the hero finds he loved the other dame all the time?"

And like mad, waiters and cashiers rush to the tablecloth
filing cabinet and drag out a suitable little number that might
fit in. Something like

"I may break your heart (head or jaw could be substituted)

"But you're my real sweetheart."
If the word "head" is used, it could easily be changed to

"I may break your head,

"But you're my real sweetbread."
If the studio insists on using "jaw," the writers feel that's up
to them. There's no rule in music or lyric that covers a down-
right body beating or a first class brawl. That's exactly the
way they feel about it. So there.

AND, of course, there's that awful, ghastly thing that hap-
pened recently when a certain well-known song writer had
just finished a knockout, a masterpiece, and the waiter dropped
some Camembert cheese on the place that said
"Darling, I beg you not to tease
"I am your own to hold and squeeze."
But the Camembert dropped right on the last four words of
the gorgeous last line and the masterpiece was ruined.

Nothing daunted, however, the cafe sold the number to an
independent movie company that had only $3.50 to spend
for musical selections and feeling they had a bargain, because
the writer was a famous one, they merely wrote in,
" Darling, I beg you not to tease.

"I am your own little piece
of cheese."

Well, sir, believe it or not, it
was the hit of the picture.
People went about for days
humming and singing the little
cheese number. The chorus
girls were all dressed as slices
of rye bread and the whole
thing was as fetching a little
routine as ever you saw.
[please turn to page 105]

Happy Landing!

days come for others in the
tinsel town.

The top of the mountain
had to be cut flat and a road
had to be built. This took
several months. The house
is some miles from the
ocean and all material had
to be taken up the moun-
tain on a narrow earth road.
They dug nearly five hun-
dred feet before they found
water.

From a window ten feet
wide in the living-room,
the blue ocean can be seen
through a deep canyon.
From the opposite side of
the house can be seen in a
valley, more beautiful than
any Washington Irving ever
imagined, an orchard, farm
house and stables, neat and
white, in which dwell the
farmer and his wife who
take care of Bill's place.

In back of the farmer's
house, is a magnificent
mountain of rock, in star-
tling contrast to the rolling

Tttf-iirffuflr . i

Here they met — for a love scene in " His First Command."
If romance then was pretense, it came true later on

HE came from far down in the valley of men to occupy
the finest home on a mountain in California.
Though it cost far more than one hundred thousand
dollars, it is as simple and beautiful as a lily. In
traveling over many nations, I can still pronounce it the finest
site for a home I have ever seen; and this does not except the
most magnificent show estates on any coast of this continent.

The superintendent in the building and furnishing of this
home was none other than the beautiful Dorothy Sebastian,
Bill Boyd's wife — the Alabama girl who went into George
White's "Scandals," and later made good in pictures.

It is hard to say which one loves the home more — Bill or
Dorothy.

On arriving at the house, which is about fifty miles from
Hollywood, beyond Malibu, in the Ventura Mountains,
Dorothy first waves at the cow, and then at the horses.
Dorothy claims that the horses will follow her into the living-
room for a lump of sugar.

They found the site for the home while horseback riding with
the friends who owned the place. Before night Bill bought the
forty acres. From then on they planned the house of their
dreams.

It is more than a place of dreams. The wise couple have so
planned things that the forty acres support all who live upon
them. Butter, milk, fruit and eggs are in abundance. A
eucalyptus grove supplies wood for the immense fireplace.
Turkeys wander over the ranch. Deer come at night to gaze
at the lights from the strange intrusion upon their ancient
peace. Eagles circle above the high mountains, and gulls fly
in from the sea. The stars hang, blazing in an inverted sea of
azure. Indeed, it is a setting for kings, acquired by the two
prudent children of Hollywood, who watched so many rainy

-J libit

rFW,

i -* *■

*A } *** >-*■ X - £*i '£ * •

Iff rrir'r

~&4&.

Away from tinsel Hollywood, high on their mountain-
top ranch, Dorothy and Bill gather their harvests

Bill and Dorothy
are safe on a moun-
tain top — and the
world is forgotten

By Jim Tully

and lovely valley beneath. Dorothy
has named all the mountains about
her place. It would not do for map-
makers to follow Dorothy; she
calls the highest and rockiest
mountain Bill Boyd.

In one end of the huge living-
room is a picture of Bill portraying
what I believe to be the finest role
of his career — Fcodor, in "The
Volga Boatman." Who the painter
was I do not know. He put forever
on canvas the best role played by
Bill Boyd, and the finest creation
yet to come from Cecil B. DeMille.

IT was my honor to see this film
in New York with the great Cecil
himself. The opening scene, in
which Bill Boyd and the gang of
roustabouts walked along the river
singing the "Volga Boatman," was
something to linger long in the
memory. Now and then through
the picture was a real touch. In it,
DeMille forgot his gilded bathrooms, his
over-shaped and half-clad ladies, his houses,
the interiors of which had been furnished by
bric-a-brac dealers.

In furnishing her home, Dorothy Sebastian
took no lesson from Cecil B. DeMille. It is
warm and harmonious.

The view from all of her windows is a
Corot landscape many times magnified.

Bill and Dorothy have a Negro man of all
work who deserves a paragraph in the history

Boyd's work in "The
Volga Boatman,''
several years ago,
brought Bill to the front.
He still thanks Cecil De
Mille for that chance

I*.

**n»

Dorothy says the horses would follow her into the
house for a lump of sugar. Bill says, "Let them!"

of films. He has been with
Bill for seven years, and
operates this magnificent
home with more precision
than a teacher of domestic
science. His name is Mose,
and he was once an erring
man.

After drinking oceans of
Bill's liquor and staying in-
ebriated for weeks, Bill was
forced to bid him a sad
farewell. Then a great light
came to Mose. Blinded like
another Saul of Tarsus, he
returned to Bill four years
ago, and said, " It just ain't
right, Mr. Boyd, me drink-
in' that way — 'specially
your liquor." Mose hasn't
had a drink since.

Bill's father was a labor-
er. He was killed when Bill was thirteen years old. The lad
was born in Cambridge, Ohio, and when he was ten years old
the family moved to Oklahoma. When Bill was fourteen he
decided to go to San Diego, California. His money gave out
in a small town a hundred miles from his destination. He got
a job picking oranges, and made a living at odd jobs until 1918.
The spirit of adventure moving him again, he came to Holly-
wood, and joined the hundreds of men and women seeking
extra work about the studios.

He obtained three days work in as many months.
He had a room for which he paid fifteen dollars a month.
For a long time thereafter Bill walked the streets of Holly-
wood arm in arm with hunger.

By this time, the owner of a [ please turn to page 1 10 ]

Consoling each other over the

poor success of their last movie

together, "Officer O'Brien,"

they fell in love

Select Your Pictures and You Won't

MOULIN ROUGE— 20th Century-United Artists

J A BENNETT steps out in a knockout role, in stunning
■'-'clothes, and in some very hot-cha dance numbers.

Her work in a dual role — a pseudo-French actress,
Raquel, and an American girl impersonating her — takes
Constance up, up, up the Hollywood ladder.

As the husband, fooled to the point of infatuation by
Connie, Franchot Tone turns in a performance that will
really put him on the map. To Tone's other accomplish-
ments may be added his capability as a comedian.

In two grand song numbers, Miss Bennett is assisted by
Russ Columbo and the three Boswell Sisters of radio. And
then there's Tullio Carminati, perfectly cast.

You'll fall for Connie, with her delightful accent, all
over again. Dialogue is right there. Direction fine.

FASHIONS OF 1934— First National

EXACTLY what you mean when you say "an eyeful."
Only there are several eyefuls in this fashion extrava-
ganza, dance classic and delightful, fast-moving film. It's
something brand-new. And you'll love it!

All about a suave "fashion crook," William Powell, who
schemes Paris right out of its swank style creations, in the
grand manner, and makes everyone concerned, you in-
cluded, like it.

Packed with cleverness, spectacle, beauty, sophistication
and tickling humor, not to mention excitement, this picture
offers a bargain in entertainment.

Busby Berkeley's dance creations are breath-taking. But
Powell, Bette Davis, Frank McHugh, Reginald Owen are
letter perfect. Hugh Herbert is too funny for words.

The

Shadow

A Revieiv of the New Pictures

QUEEN CHRISTINA— M-G-M

GARBO, as Sweden's stately sovereign of the Seven-
teenth Century!

The magnificent Greta, after an absence of over a year,
makes a glorious reappearance on the screen. Besides being
grateful for that, movie devotees will welcome the return
of Jack Gilbert to his high estate as an actor. Gilbert por-
trays the role of Don Antonio, an emissary from the King
of Spain.

The scenes at the inn where Christina, incognito, and
Antonio spend three snowbound, romantic days are moving
and exquisite.

Her Majesty's abdication from the throne, over the tear-
ful protest of her people, is impressive — compelling.

Sometimes the story flows with a grand flourish; some-
times it staggers a bit under its own weight. But, on the
whole, Rouben Mamoulian's direction is admirable; S. N.
Behrman's dialogue is scintillating; settings and costumes
are rich.

Garbo, enchanting as ever, is still enveloped by her
unfathomable mystery.

In the opening scenes, little Cora Sue Collins effectively
impersonates Queen Christina as a child.

The supporting cast is equal to every situation — and
that's saying a lot when Garbo is creating the situations.
Lewis Stone, Ian Keith, Reginald Owen splendid.

Have to Complain About the Bad Ones

The Best Pictures of the Month

QUEEN CHRISTINA
MOULIN ROUGE
GOING HOLLYWOOD
FLYING DOWN TO RIO

I AM SUZANNE !

FASHIONS OF 1934

MISS FANES BABY IS STOLEN

NANA

The Best Performances of the Month

Greta Garbo in "Queen Christina"
Constance Bennett in "Moulin Rouge"

Franchot Tone in "Moulin Rouge"

William Powell in "Fashions of 1934"

Marion Davies in "Going Hollywood"

Bing Crosby in "Going Hollywood"

Dorothea Wieck in "Miss Fane's Baby Is Stolen"

Alice Brady in "Miss Fane's Baby Is Stolen"

Anna Sten in "Nana"

Casts of all photoplays reviewed will be found on page 120

/ AM SUZANNE!— Fox

HERE is something entirely different at last. Jesse
Lasky's newest production more than lives up to its
predecessors. The famous Piccoli Marionettes and the
Yale Puppets play some of the principal roles and almost
steal the show, especially the Lucia Sextette number.

Lilian Harvey gives a better account of herself as Suzanne
than in any of her previous American films. She does some
astonishing acrobatic dancing as the revue entertainer, who
falls so disastrously and breaks her leg. Gene Raymond,
sixth generation puppeteer, who runs the marionette show,
has worshipped her from afar. When deserted in her illness
by her mercenary manager (Leslie Banks), Lilian is nursed
back to health by Gene.

The romance has a charming "7th Heaven" gentleness.
Gene addresses his attentions to the marionettes he has
made in Suzanne's exact likeness, until she is consumed
with jealousy. She recovers from her illness, and can dance
again, so she returns to the revue, where the marionette act
is also signed, to show Gene that she can dance better than
any mere marionette.

The story is the pet brain-child of the director, Rowland
V. Lee, who rates plenty of credit for this original produc-
tion.

Excellent entertainment for grown-ups and children
alike.

GOING HOLLYWOOD— M-G-M

NEVER has Marion Davies looked more beautiful than
she does as the little French teacher who, having fallen
in love with Bing Crosby's voice over the radio, follows the
crooner to Hollywood.

Bing has some simply grand songs, and it is now quite
evident that the lad is also an actor.

The production is done on the most lavish scale of any
seen to date, offering much in the way of novelty.

There are oodles of gorgeous girls, many colorful ensem-
bles, tuneful music, and Marion displays some heavenly
costumes.

Fifi Dorsay is well cast as the temperamental film siren.
And the inimitable Stuart Erwin, as an amateur producer,
lends a neat comedy touch.

MISS FANE'S BABY IS STOLEN— Paramount

THIS picture, reminiscent of the Lindbergh kidnaping
case, is a powerful presentation of what actually happens
when a child is seized for ransom. It offers thrills, terrific
suspense and will bring a sob to your throat. Dorothea
Wieck, as Madeline Fane, famous star, is madly devoted to
Michael (Baby LeRoy). In the night the baby is kidnaped
and then a struggle arises as to whether the mother shall in-
form the police or make contacts herself with the kidnapers.
She keeps a rendezvous with the "snatchers" — Alan
Hale, Jack LaRue, Dorothy Burgess. But this plan goes
astray. Alice Brady, as a farmer's wife, intervenes at the
critical moment. Dorothea Wieck, Alice Brady and Baby
LeRoy are superb.

A film you will long remember.

The National Guide to Motion Pictures

(RE ;. U S. PAT. OFF.)

FLYING
DOWN TO
RIO—
RKO-Radio

NANA—
Samuel
Goldwyn-
United Artists

GIRLS performing on wings of planes and the South Ameri-
can dance numbers, especially the "Carioca," make this a
decided change from the run of recent musicals. Gene Ray-
mond falls for Senorita Dolores Del Rio, only to find, upon his
arrival in Rio de Janeiro, that she is the fiancee of his chum,
Raul Roulien. Fred Astaire and Ginger Rogers contribute
some good comedy and better dancing.

ANNA STEN'S magnetic allure and dramatic art will make
this Russian lady an American favorite. Zola's classic
takes Anna from the streets of Paris, through many loves and
tragedies, till impresario Richard Bennett makes her a star.
Although Bennett, Lionel Atwill, Phillips Holmes and Mae
Clarke do fine work, the show is all Anna Sten, perfect in her
role and in her speech.

CROSS
COUNTRY
CRUISE—
Universal

ABOVE THE

CLOUDS—

Columbia

OOD comedy which turns to melodrama as the film pro-
gresses. Playboy Lew Ayres sees June Knight taking a bus
to San Francisco and buys tickets for himself and Arthur
Vinton. Alan Dinehart, who planned to travel with June,
cannot shake suspicious wife (Minna Gombell), and compli-
cations set in over the scenic route. Alice White plays deluxe
hitch-hiker. Fine supporting cast.

ATHR'LLING picture with plenty of air action and a
climax in which a dirigible cracks in mid-air and Richard
Cromwell, as the discredited hero newsreel cameraman, is
vindicated and gets the girl, Dorothy Wilson. Robert Arm-
strong is Dick's superior who takes credit for all good work
until the day of reckoning. Many fine shots of actual news
topics enliven the film.

ALL OF ME
— Paramount

HIPS, HIPS,

HOORAY—

RKO-Radio

THE eternal conflict between a man and a woman presented
forcefully. Fredric March and Miriam Hopkins sidestep
marriage when she fears the bonds might throttle love. But
ex-convict George Raft and his sweetheart, Helen Mack, facing
motherhood, show such simple faith in life and death that
superficialities vanish. You'll like Nella Walker and William
Collier, Sr., in bits.

WHEELER and Woolsey, a pair of medicine show fakers
selling cosmetics and specializing in gin flavored lip-
sticks, muscle into partnership in the beauty concern owned by
Thelma Todd and Dorothy Lee. Money disappears and Bert
and Bob, suspected, muscle into a cross country automobile
race to make their get-away — and what a finish they turn in!
Plenty of hilarity, dancing, girls and music.

a v e s

u r

1 c t u r e

1 m e an

d M

one

THE POOR

RICH—

Universal

THE SON OF

KONG—

RKO-Radio

SUDDENLY poor and hilariously helpless, Edward Everett
Horton and Edna Way Oliver entertain Lord and Lady
Feather stone and their daughter, Thelma Todd, who assume
their hosts are wealthy. Andy Devine, village character, be-
comes chef. Leila Hyams, aluminum-ware peddler, is pressed
into service, also sheriff Grant Mitchell, as butler. Plenty
of laughs.

A MERE splinter off the old block is the twelve-foot
youngster of fifty foot King Kong. The film has a few
mechanical thrills, and is spiced with hokum. Robert Arm-
strong, beset by an indictment for damage done by Kong,
gees back to the ape's island home and discovers the offspring.
Kid Kong plays cupid for Bob and Helen Mack, and saves the
hero when an earthquake sinks the island.

HIS DOUBLE

LIFE—

Paramount

FUGITIVE
LOVERS—
M-G-M

ADAPTED from Arnold Bennett's novel, "Buried Alive,"
it is an amusing story of an artist (Roland Young) who,
through a mistake in identity, is believed dead. He marries
his deceased valet's mail-order fiancee, Lillian Gish, and is
finally discovered through a legal fight over his unsigned
paintings. For those who appreciate subtle comedy and gentle
satire.

THE continual chase of an escaped convict (Robert Mont-
gomery) by the authorities, and his love for a girl (Madge
Evans) whom he meets when he boards the transcontinental
bus as it passes the penitentiary. Nat Pendleton, as Madge's
unwanted companion on the trip, does well, as do C. Henry
Gordon and Ted Healv. The moments of high suspense almost
make up for occasional dull lapses.

PALOOKA—
Reliance-
United Artists

FOUR

FRIGHTENED
PEOPLE—
Paramount

CHUCKLES galore in this story of a confused country bump-
kin prize-fighter. Garnished with Jimmy Durante, Lupe
Yelez, Marjorie Rambeau and Robert Armstrong, all in top
form, it offers Stuart Erwin as the laugh-stuffed main entree.
Between dangers of a ring crown won on a fluke and designs of
Lupe, Stu is in a stew, until Mama Rambeau saves him.
Durante pulls a Bing Crosby.

A GRIPPING tale of four people lost in the Malay jungle,
and the metamorphosis that happens to each. Claudette
Colbert, a homely teacher, becomes a lovely woman. William
Gargan, ego-minded radio star, shrinks into insignificance.
Herbert Marshall, a self-effacing chemist, grows assured, as he
grows to love Claudette. Mary Boland, Leo Carrillo fine.
[adi itional reviews on page 102 ]

Sweet
Ali

ice

Brady

Here's what the

little serio-comic

of the screen is

really like

By Jane
Hampton

exquisite taste. The drapes are
lovely. Except the dogs have
them chewed into befuddled
looking masses of something and
Alice thinks it is just too cute
for words. On the wall hangs a
beautiful Matisse. An original.
While directly under it, piled
high on a beautifully carved
chair is a pile of paper-backed
detective magazines. Quaintly
called "Dead-Eye Dick," or
"Ten Murders in One Bar
Room." Piles and piles of them.
As fast as Alice reads them,
which is one a night, they are
tossed on the beautifully carved
chair under the original Matisse,
and the green grass grows all
around.

While visitors turn giddy in her extraordinary home, Alice Brady only laughs

ALICE
does,
right.
Alice.
For instance,
in Hollvwood—

BRADY thinks she behaves as everybody else
She thinks those things she does are quite all
And as far as that goes, they are all right— for

her house. Why, nobody has houses like that
or what would people think, for heaven's sake?
There's her beautiful snow-white living room furnished in

OW for the dining room, if
you can tear yourself out of
Alice's living room. And let me
warn you if you're not strong
you had better stay right there,
for that dining room is some-
thing. It's all in bright, daz-
zling bright, crimson plush. The
wall paper is a crazy-quilt pat-
tern of splashed crimson. But
wait! On that wall hangs some-
thing so lovely, so exquisite, that
it fairly catches the breath. It's
an original Bellows. In black
and white.

In fact the Bellows was the
only thing that kept Adrian, the famous M-G-M designer, from
passing out completely when he beheld yon Brady dining room.
All of which (the passing out and the moaning and the groaning
at the horror of it) amuses Alice no end.

As for Alice herself, she's exactly like her house. Consistent

in her inconsistencies. An absolutely astounding person.

Over a little S14.95 frock she [ please turn to page 1 13 ]

o4U&4xLo cued Soefao- a.

Suit Is
Favorite
of Chic
Stars

HOLLYWOOD
FASHIONS

here sponsored by PHOTOPLAY
Magazine and worn by famous
stars in latest motion pictures,
now may be secured for your
own wardrobe from leading de-
partment and ready-to-wear
stores in many localities. . . .
Faithful copies of these smartly
styled and moderately-priced gar-
ments, of which those shown in
this issue of PHOTOPLAY are
typical, dre on display this month
in the stores of representative
merchants.

■■■

IIOLLYWOOD'S favorite
'daytime uniform is a suit.
Wherever you lunch or shop,
you see the smartest stars wear-
ing either the strictly man-tail-
ored suit or the softer, dress-
maker type like this one of Suz-
anne Kaaren's. You will see
Suzanne wearing this costume in
"Coming Out Party." It is a soft
blue woolen with high front
buttoning, wide lapels and trim
pleated skirt. The blouse is a
gaily hued plaid cotton fabric

DILLIE SEWARD wears the classic man-
L-'tailored suit in black and white pin
checks. All the stars, including Joan
Crawford, have these made by a Holly-
wood tailor — we have had this one cop-
ied exactly for you. It has a cutaway line
to the jacket in front and a Norfolk type
back. Three patch pockets and a plain
skirt with a single front pleat. You can
alternate with a plain skirt or jacket

CHIRLEY GREY, you will see her next
^in the picture, "One Is Guilty,"
wears one of the pet costumes from her
own wardrobe. It is a simple black
crepe dress with a deep V-shaped bib of
the white crepe. This bib is detachable,
thus making possible a number of changes
for the dress. Shirley's jewelry ensemble
is interesting; it is made entirely of satin,
with earrings, bracelets and necklaces

Hollywood Wears Daytime Prints

IDA LUPINO wears this charming floral print which
is a copy of the dress Travis Banton designed for her
to wear in "Search for Beauty.'' Bright flowers on a
dark ground are offset by a wide collar of starched
linen, a linen belt and cuffs held with buttons

SHIRLEY GREY advocates simple styles in dresses
when the fabric is a gay floral print like this one
above. Shirley's dress has loops of the fabric making
an unusual neckline trimming. A scarf is worn across
the shoulders to give a flare to the short sleeves

And Crepe For Afternoon

"THIS stylish crepe frock, worn by
' Marian Nixon in Columbia's "The
Line-Up", has wide ties that form a
belt in the back. The trimming of
embroidered net forms bows caught
n the center by jeweled clips. Simi-
ar bows are caught with clips on
the sleeves at the wrist. This frock
has the dolman type sleeve. Stunning!

Details Give
Two Costumes
Smart Accent

MARIAN NIXON wears this good looking daytime
dress in "The Line-Up. " It's a bright navy crepe with
gauntlet cuffs and wide collar of fine handkerchief linen
and lace. The linen is tucked and stitched, with the lace
to give it a delicate charm. Notice that the collar widens
as it reaches the shoulders — the dress is simple, otherwise

SHARON LYNNE, who is soon to return to the screen
in the film, "Bolero," considers this ensemble one
of the smartest in her personal wardrobe. It is a three-
piece affair with skirt and three-quarter coat in a soft
myrtle green woolen. The plaid blouse has a high scarf
neckline and the matching plaid gloves are a gay touch

P\OROTHEA WIECK'S second American picture is "Miss Fane's
L^Baby Is Stolen." The many who admired her work in the German
production, "Maedchen in Uniform," hope for a duplication of that
success over here. Dorothea has the ambition to play Madame Bovary
on the screen. Irrelevantly we add, she adores Bach's compositions

IS "Bolero," the dance made famous after adapters had jazzed the
music of Maurice Ravel's famous composition. And how Carole
Lombard and George Raft can turn their toes to its exciting, sensuous
rhythm, in the picture of the same name! George plays the role of
Raoul, the gay night club dancer who makes love to his floor partners

Tenement days are over for the Howards! This is the charming home, outside of London, they occupied when in England

Leslie Howard's Lucky Coin

INTO a shabby, walk-up tene-
ment up on Claremont Avenue
in New York, a gaunt young
man trudged his way. Each
day his shoulders would become a
little more hunched; each day a
haunted look in his eyes spelled
disappointment and discourage-
ment. For the young man could
find no work and money was ter-
ribly scarce.

That man was Leslie Howard.
The time was about 1923.

Neighbors up on Claremont
Avenue remember him as a tran-
sient tenant, carrying delicatessen
food in small paper bags now and
then, his clothes not at all the
Bond Street perfection of the
world-famous actor today.

It sounded a little incredible —
this vastly different person com-
pared with the charming, soft-
spoken Leslie Howard of romantic
movie glamour. The Leslie How-
ard of "Smilin' Through*' and
"Secrets" and "Berkeley
Square."

"How about that?'' I asked
him.

"It's true," he said frankly.
"I lived up there for quite a while
when I was broke, going the
Broadway rounds looking for a
job. I lived in furnished rooms in
the Fifties, too, eating marmalade
and crackers for days when money
was so scarce I'd almost forgotten
what a dollar bill looked like.

"That was when my wife,
who'd stayed in England because
we couldn't afford two boat fares,
sent me the lucky guinea."

He fingered a gold coin sus-
pended from a chain which he
always wears around his neck.

"Ruth sent me this because she
knew I needed money badly. And

Some believe Howard might
still be adding figures if it
weren't for the golden charm

By Virginia Maxwell

Leslie thinks he may die by drowning.
Because the only time he ever goes with-
out the lucky coin is when he is swimming

the day it arrived, my luck
changed. Turned about so com-
pletely, that I didn't need the
money. So I had it made into this
keepsake which I wouldn't part
with for the world. I wear it
always — just for luck— and the
only time I ever take it off is
when I go swimming. Some-
times," he laughed, "I wonder
if I shouldn't die by drowning,
because my lucky token wouldn't
be with me."

He scrutinized the token care-
fully.

"I'd no business wanting to be
an actor. I had had no experience
when I first went on the stage in
England after the war— just a
tremendous desire to act, to ex-
press something I had always
wanted to do with writing but
never hoped to attain in that
field.

"I had worked in a bank in
London before the war. I've often
since accused myself of wanting to
join the cavalry just for the thrill
of getting away from the montony
of adding up figures.

DURING the war I met Ruth.
We were married in a little
town where our troops were quar-
tered for a while. Ruth didn't know
anything about the stage, either.
But she had a great sympathy
for my ambition. We would
talk for long hours about the
things I wanted to do. And it
was she who fired me with courage
to try the stage, believing I should
always feel cheated if I hadn't at
least one fling at it.

"Just as soon as I was mus-
tered out of the army, I went to a
booking-agent in London. Ruth
and I were very poor, living in a

away expression as if he were living over again those
days.

''It was summer time and England was lovely. We
toured through Devonshire and Wales, playing at stable
theaters, gas-lighted back rooms, always amazed that
people liked our show and forever wondering just how
long this blessed luck would hold out.

"We never hoped to play London. That is the last
word in England, the London stage, just as Broadway
is the goal of every American actor.

"But I found this tour an amazing training school.
I was learning to be a good trouper, to take disappoint-
ment with a grain of philosophy, to look up and out
and never back — the creed that keeps people of the
theater going along so hopefully."

THERE came then an opportunity for Leslie to do a
play in London. It was called " The Freaks," and it
was the vehicle which gave him a chance to show
whether he had something real to offer in stage talent
or whether he might have to go back to counting figures
over a bank ledger.

Little money, scarcely enough to live on, but oppor-
tunity.

The critics' statement that he was splendid, although
the play was not very successful, gave him the chance
to come to New York, because Gilbert Miller believed
what the London critics had said about Leslie Howard.

"Ruth had to remain in England," he commented,
with a naive, boyish sadness in his blue eyes. "We
couldn't scrape together enough money for two boat
tickets. So T came alone, with high hopes."

He did "The Green Hat" and made some money.
He sent for Ruth and she came over, happy to be with
him again. But luck turned for them a little while
after she arrived with their son. And it was then they
moved to the Claremont Avenue flat where neighbors
remember him as the actor out of work.

They got back to England somehow, glad to be on
home ground again.

Then Fate threw another quirk and Leslie Howard
was offered a part in the American production of "Her
Cardboard Lover." He [ please turn to page 108 ]

Mr. and Mrs. Howard and daugh-
ter, Leslie, arrive in New York.
Son, Ronald, wouldn't get in the
picture

cheap little flat. We had no telephone.
So I had to call on the agent every day
to learn if he could find me a place
anywhere.

"Eventually — and it may have been
because he grew tired of seeing me come
around so often — he offered me a very
small role in a tour company. I grabbed
at the opportunity. Ruth and I packed
our one bag, got aboard the theatrical
company train and started out on our
adventure, deeply thrilled
that I had at last gotten a
start."

Leslie Howard stopped
talking for a moment; his
face softened and his keen
blue eves took on that far-

Two Leslies, father
and daughter, smile
down from the attic
window of the Eng-
lish country house

JUanatt

V\/rITH this man as executioner, there's little hope

* ' for the condemned! It's Leo Carrillo as General

Sierra in " Viva Villa." Sierra was executioner for Villa,

Mexican war lord, whose life story is told in the movie

Look Out.

DEAR PATRICIA: What's happened to you? Several
months ago I saw you in ''The Narrow Corner" and
thought you were one of the loveliest newcomers I had
seen on the screen in a long time. Then the other day
I saw you in "Convention City," and again I cry, "What's
happened to you? "

Let me answer my own question and tell you what has
happened. You've put on weight— several pounds of un-
necessary fat. And, darling, we're going to have a little heart
to heart talk right now, only I'm going to do the talking. I'm
going to tell you how to get rid of the excess weight and get
back that lovely figure you had a few months ago. And this
time you're going to keep it!

Patricia, listen to me! It's no easy job to be a movie star.
I know because I've been over the ropes with the greatest of
them. Your devotees demand that you be everything that
they themselves want to be as far as beauty of figure and face
is concerned. And you've got to satisfy them always.

This is straight-from-the-shoulder talk, and it's common
sense. It is the truth and I want you to take these tips and
get busy!

I am a fanatic — perhaps you never knew that. I simply
can't stand to see a youngster like yourself risk handicapping
her career by neglecting her figure.

Patricia, you have everything before you. You can be a
great star — but that extra weight must come off. It adds
five or six years to your looks and that is a shame when you're
only eighteen!

Now, in the first place, don't slump! Remember that scene
in "Convention City" in the hallway with Mary Astor? You
slumped terribly and it accentuated your stomach (and in a
minute I'm going to tell you what to do about that stomach,
too). You're intelligent enough to correct that faulty posture.
Walk in front of the mirror. Study your posture, practice
improving it. Remember every minute that you're before the
camera to carry yourself correctly. I'm going to leave that up
to you.

NOW to take your hips down. I'm going to give you my very
best exercise. The extra pounds on your hips are a little
toward the back. Or do I need to tell you? Every day— and
I mean every single day — stand stocking-footed with your feet
six to eight inches apart and just a little pigeon-toed. Now
raise your hands above your head. Don't stiffen. Relax and
stretch. Now slowly bnng your torso sideways — with the
arms still above your head — and as you do that twist so that
you can feel movement in the muscle that you want to take
off. I know how you feel. It's tough but you've got to do it.
Now, still with your body twisted, slowly lower your torso
until the right hand is on the left heel and the left hand is back
of the right hand about five inches. Then come up slowly and
repeat on the other side. Don't forget the little twist and be
sure that you're relaxed even when you stretch.

There is a trick to all exercises. The twisting and relaxing
are the tricks in this one. Do this ten or fifteen minutes every
single morning. When you feel the muscles over your hips
pulling, there at the back, you'll know you're doing it right.
I want that extra flesh to come off fast, because I know how
much you picture girls hate to exercise.

Now for your tummy. I want you to get the abdomen nice
and flat and strengthen the muscles so that it will be held in.
I hear that you have a grand mother, and I know she'll help
you with this exercise. I'll bet she has told you about that
tummy anyhow, but lots and lots of times girls won't mind

their mothers. That's why I have
to tell you the things you ought to
hear. You take them from me be-
cause you know I'm not prejudiced.
And I don't care if I make you
good and mad by bawling you out.
Then maybe you'll pitch in and
work like the good little trouper

Miss Ellis is a promis-
ing young actress, but
Sylvia says she must
reduce. Exercises and
a diet, which gives Pat
plenty to eat without
adding weight, are
prescribed

you are

Patricia!

says

Sylvia

Take off those excess
pounds, correct that
figure! And here's how!

G. Maillard Kesslere

She has a critical eye! But

Sylvia's frank analyses and

good advice have preserved

many a famous figure

ankles. Now remember, Pa-
tricia, relax so that you're a
dead weight from your waist
to your knees. Bend your
knees and let your mother slow-
ly pull up your legs away from
the floor and in the direction of
your head as far as you can
stand it. This raises your
thighs from the floor and lifts
the abdominal muscles. The
abdomen sort of rolls on the
floor. Do it back and forth as
much as you can take.

In "Convention City," Sylvia thought Pat had too much weight through hips and stomach

Put a sheet on the floor. Wear some loose-fitting pajamas.
Lie on the floor on your stomach with your arms straight out
above your head and your legs straight. Don't stiffen. Relax.
Have your mother stand at the side and take hold of your

And don't miss Sylvia's personal ansivers to girls, on page 88!

'LL admit it isn't a sweet
feeling and you'll be sort of
sore for about three days. But
if you'll relax the whole time
it won't be hard, and does it
do the work !

I want you to dance as much
as you can — but maybe I don't
need to tell you that for I hear
that you're one of the most
popular girls in Hollywood.
And the next time you go to a
party I want everybody to rave
about how wonderful you look.
Because you're a rising star,
people are watching you, and
you've got a big responsibility.
Speaking of your being a
rising star reminds me that I
must give you a word of warn-
ing about your health. You
need energy to do the work you've got to do! So I'm going
to give you my energy diet. It will give you so much pep,
you'll be rolling great big rocks up those hills by the First National
Studios. The diet will also make [ please turn to page 88 ]

Rumor has it that Mr.
and Mrs. Cy Bartlett
spent New Year's Eve
in a telephone booth
at the Cocoanut Grove.
The couple has an alibi.
They were calling their
friends, wishing them
happy New Year. It
took a long time be-
cause Alice would tell
Cy what to say, then
Cy would yell, "Wait a
minute — what Alice?"
Alice would repeat her
message — and so on,
far into the night

Jeanette MacDonald,
looking especiallylove-
ly, celebrated with her
constant escort, Bob
Ritchie. Even on New
Year's, snooping re-
porters and curious
cameramen interrupt-
ed the merry-making
to corner the couple
and boldly inquire if
they were married.
But all they got for
answers from Bob and
Jeanette were laughs
and side-long glances.
Guess again ! Because
they won't tell

As Midnight
Neared

Noted ones paired at
Hollywood's celebra-
tion, New Year's Eve

Staff Photos by William Phillips

*<*» £*k

fe>

Judith Allen and John Warburton rang out the old, rang in the new,

together at the Little Club. Rumors or no rumors (and there aren't

any!), that's a come-hither glance in Judith's eyes, and Mr.

Warburton looks as if he would like to accept the invitation

L* V*

Jack Oakie got back to
Hollywood from Honolulu
in time to celebrate with
Hazel Forbes. Jack's grin
is wide because "Skeets"
Gallagher just thanked him
for the gift he sent. It was
a fifty pound rock, shipped
collect to "Skeets" from
Honolulu. Gallagher re-
grets that the rock was too
big to throw

i »

?r*

iJW

Nearly everyone has been
asked to come up some-
time, but here's the only
man who is always wel-
come! Mae West attends
all celebrations with Jim
Timony. Handy, too. Be-
cause Jim's her business
manager. And if any stray
contracts should come wan-
dering around, things could
be settled there and then

Star News

from

London

By Kathlyn Hay den

Photoplay's London Correspondent

Adele Astaire broke up the famous dance team

to marry Lord Cavendish. Now in the audience,

she gives brother Fred stage fright

London, England.
'T I 'HIS face of mine!"

That may not be the title of his auto-
biography— if and when Fred Astaire gets
around to writing it— but I can't think of
a more apt one, and it's his for the taking.

A half hour with him in his dressing-room at the
Palace Theater (where he is playing to enthusiastic
audiences of London's smart set in "Gay Divorce")
has been far and away the most interesting high spot
cf the month's news gathering. And it was what
he had to say about his experiences in Hollywood
that convinced me that the crudest caricaturist couldn't make
the Astaire face as grotesque as Fred's own opinion of it.

"I'm keen about this picture game," he said, "but I'm still
wondering why anybody else should be keen about having me
do my stuff before the camera. With this face of mine— !"

He left the sentence unfinished— the shrug of his shoulders
eloquently bespeaking what was on his mind..

"I'd have been even more flabbergasted when I got my first
offer of a film engagement — if it hadn't come at a time when I
was giving everything I had to my first stage appearance
without my sister playing opposite me. As it was, I was so
intent on convincing New Yorkers that I didn't depend on
Adele for our show's success— and, in spite of unfavorable
newspaper notices, we kept 'Gay Divorce' going for thirty-two

Fred can't understand why Hollywood wants him — with that face !
Astaire and his wife are in London where Fred is dancing

weeks on Broadway— I didn't realize how amazing that offer
really was.

"I hadn't been in California since I was seven. Of course,
I'd met a lot of picture people; they're all great theatergoers,
you know. And I knew Crawford was a great little trouper.
If she wanted me in the cast of 'Dancing Lady'— and the
M-G-M people assured me she did— it was okay with me.
At least it would be a great experience.

""D UT my wildest imaginings had never pictured anything
-Dlike the real Hollywood. In the ten weeks that I was
there I was in a state of perpetual amazement. Up to that
time I thought we had show business developed to the highest
possible pitch of efficiency. It didn't take me long to discover

that the big Hollywood studios start
where we of the stage leave off.

" Why, just to mention one instance, I
learned more in those few weeks about
make-up than in all my years behind
the footlights. Those make-up experts
are positively uncanny. I'm still gasp-
ing as I think what they did with this
face of mine.

"They even put a toupee on my head
— and to my amazement, when I saw the
rushes, the wig on my photographed
self looked more like my own hair than
my own hair. Incidentally, I found out
that several of Hollywood's champion
heart -breakers — you know, the lads
who always carry the heavy love interest
— are similarly be-wigged. It isn't be-
cause their own locks are thinning, it's
because a make-up expert decides a
toupee will heighten the effect of his
work on their features.

CRAWFORD was grand to work
with. So were Gable and Tone.
Of course, I didn't know a camera from
a cow catcher. But, at least, I knew I
didn't know. Also, I realized that
everything I'd ever learned on the stage
was of no use now.

"That's what still bewilders me.
Here I am— with this face of mine— and
nothing much besides. Nobody'd ever
accuse me of being a Caruso. As for my
dancing — I've always felt that dancing
on the screen as an exhibition is about
the dullest part of any film. So, as far
as I could make out, the only possible
chance I had to get on in the picture
game was to click — with my personality.

"Something of that kind must have
happened — or I shouldn't have been
asked to work in 'Flying Down to Rio.'
And now, as soon as this London run

^mmmmmmmmmmmmKmmmmmmmmgmmBKF/lKti

■

*•.<•..*,* ■*

"^*^^^

Alfred Lunt and Lynn Fontanne went to London for " Reunion
in Vienna." Back on native soil, Lynn was branded an alien

As pretty a blonde as ever came from Holly-
wood, is Marian Marsh. On her arrival in
England, she had surprises for reporters

ends, I'm off to Hollywood again — this time to
make two pictures for RKO-Radio. The first
will be 'Gay Divorce' — probably with Ginger
Rogers in the Clare Luce role.

"It's great, mind you — but still I can't under-
stand it. With this face of mine — !"

FRED ASTAIRE— by the bye— has had three
nerve-racking experiences since the London
premiere of "Gay Divorce." Three times his
sister (Lady Cavendish as she is now) has been
in front, watching her erstwhile partner do his
stuff with the exotic Miss Luce. On each
occasion, Astaire tells me, he suffered pangs of
stage fright such as no actor ever knew.

Those of you who have a brother or a sister
may, perhaps, appreciate this. 1 can quite
understand the dreadful self-consciousness a chap
must feel under such conditions.

HOW different the American viewpoint is
from that of the general run of British film
producers! Take the case of the company that
produces the films [ please turn to page 112 )

rrculich

IN each new picture Alice White looks a little sweeter
and more subdued. Maybe marriage does that to a
person! Or maybe Alice is growing up. However,
there should be antics in her next movie, and maybe
a swat or two. It's "The Heir Chaser," with Cagney

Hollywood,

the World's

Sculptor

Remolded and reshaped, it's
a wonder some of the stars
can recognize themselves!

By Winifred Aydelotte

HOLLYWOOD is a quick-change artist.
A gigantic sculptor, leaning over an immense
bench, and the clay that responds to its long, sensitive
fingers is the dramatic genius of the world.
All anyone has to do to lose his individuality completely is
to arrive in the City of Change with sufficient clamor. At the
noise, the sculptor pricks up his ears and pounces on its victim
with a good deal of glee.

"A find! A find! ! The dramatic discovery of a decade! ! !

"What lovely clay! " cried Hollywood, the sculptor, when Miriam

Jordan arrived from England. But when the movies finished

remaking her, Miriam didn't consider it a work of art

" Nothing much you can do with a cyclone,"

the sculptor said of Lyda Roberti. For Lyda

had found fame in jazz on Broadway and she

didn't intend to have the mold changed

Now listen, Tallulah, you slaved 'em with
comedy in London. Well, forget it. You're
going to be a bitter tragedienne here, tasting
the dregs of life. And, you, what did you do in
Roumania, my dear? You look so frail and
sweet and charming. Oh — Lillian Gish things?
Let's see, we have too many of them. I've got
it! You will play stark, stiff maids and things
in horror stories. And you, you cold, haughty,
penthouse beauty. No, don't tell me. Let me
guess. Well, never mind, we'll make you a
bronco-bustin', wide-open-spaces, Western fe-
male star."

And so on. Hollywood is never at a loss.
"You've got black hair? Bleach it. You've
got blonde hair? Make it dark. I don't like
your feet. I don't like your nose. I don't like
your nerve. Change, change, change! " Dis-
satisfaction with anything as it is is the mother
of creation here.

"Unbend, girl, un-
bend! " And Elissa
Landi, quiet, re-
served, obeyed the
sculptor and unbent
in a burst of activity.
Then she rebelled

■:<**?-.

Sometimes, however,
the clay comes to Holly-
wood with stubborn lines
and a rigid refusal to be
re-shaped. But it all comes,
sooner or later, this great
lump of genius — stage stars
from New York and London;
little movie-struck girls from
Podunk and Terre Haute; in-
genues from the country's stock
companies, and the foreigners.

What Hollywood has done to
its foreign stars in the matter of
re-vamping is miraculous, one
way or the other.

Marlene Dietrich, Anna Sten,
Greta Garbo, Miriam Jordan,
Lyda Roberti, Ramon Novarro,
Elissa Landi, Dorothea YVieck,
Greta Nissen.

Already beautifully molded came Elissa Landi, a member of
the Imperial Austrian nobility. She came, tall, cold, poised
and dignified, and in her was (and is) embodied an Old World
reserve, pride of tradition, an intellectual aloofness that forbade
her yielding to the hail-fellow-well-met, up-and-down-the-
emotional-scale, pillow-fighting school of acting that makes
Hollywood the fascinating place of contrast it is.

Eor Fox .she made "Bodv and Soul," "Alwavs Goodbye,"
"The Yellow Ticket," "Wicked," "The Devil's Lottery,"
"The Woman in Room 13," and "A Passport to Hell." All
of these roles, in spite of the encouragement the titles gave,
were Landi-reserved, emotionally distant and not quite on
speaking terms with our red-blooded American expansiveness.
They raised an enquiring lorgnette at the general public.

Eighteen months of artistic
effort were spent by the
sculptor on Anna Sten. In
the meantime, Anna did
things to Hollywood

"Unbend, girl, unbend," cried Fox, who,
basking in her intellectual shade, had be-
come chilled to the bones.

So she harkened unto the sculptor and
unbent — in "The Warrior's Husband."

"... and marble, soften'd into life, grew
warm."

This was followed by "I Loved You
Wednesday," in which a startled public saw
a Landi that cooed, gurgled, skipped,
wrestled romantically over a pillow with
Victor Tory, and couldn't say a word without
waving her arms like a windmill and
registering an overdose of wie de vivre.

"Hooray!" shouted Fox, taking off
muffler and wrist warmers, "she's human!"
So they proudly presented her with "I Am
a Widow," a story that demanded an
asbestos screen.

SHE took one look at the script, drew
herself up into an ivory column of scorn,
and departed. And the Landi retreat will
go down in the annals of Hollywood history.
The sculptor was wrong. It had tried to
carve a skip and a simper into a cold curve
of dignity.

Marlene Dietrich, already an established
actress in Germany, came to Hollywood,
and the sculptor set to work.

"In Hollywood," the studio said to Miss
Dietrich, "the stars help in the matter of
publicity. They keep themselves in the
public eye; they do things that our press
scribes can plaster on the front pages of
newspapers; they do not lead quiet,
uneventful, retiring lives. They at-
tract attention! Now, let's see what
you can do."

Marlene flew to work, and
never was a publicity job under-
taken more seriously in the gag
city than was hers. And every-
thing helped her; Von Sternberg,
her legs, and an article of ap-
parel called pants. The innate
puritanical streak of Americans
helped, too. Unconsciously,

[ PLEASE TURN TO PAGE 114 ]

*r^

" I said scram! " The sculptor tried in vain to

teach Benita Hume to use American slang without

an English accent

PHOTOPLAY'S

ollywoo

d B

eau

ty Sh

Conducted By Carolyn Van W y c k

IRENE BENTLEY'S lovely hands give
I you a perfect pattern for correct nai
shaping and use of lacquer polish

RETAIN the natural lip outline for
day make-up and reserve special
lip shaping for evening," advises Mary
Irian. Mary is using a new French
lipstick ornamented with a sparkling
stone. It comes in three smart tones

All the beauty tricks of all the stars brought to you each month

Spotlight Coiffures by Bette

HOW do you like the back of Bette's
arrangement at the right? Isn't it a
dream? Those rolls and flat curls have
the sculptured beauty of marble. Not
very difficult for your hairdresser either

N severa l scenes in
"Fashions of 1934'"
ette Davis wears her
hair in this dramatic,
exotic manner. It gives
the color and sheen of
her golden hair gor-
geous play, but is advised
only when you wish to
seem slightly theatrical

HERE Bette looks very
queenly and almost
Grecian with the classic
simplicity of this coiffure.
But wait until you see
the back. It has tricks
galore for you. A charm-
ing suggestion for the
younger person and sure
to gain you compliments

Davis in "Fashions of 1934

THIS is a variation of
the coiffure on the
left page. Instead of the
smooth effect, the hair
has been softly waved
and that roll brought
forth in a bang. A uni-
versally flattering style,
especially for the girl
with too much forehead

FOR the style above,
Bette's back hair has
been metamorphosed
into a mass of little curls
across the back of her
neck. This is a perfect
ruse for the too long
neck, and is girlish and
lovely. Later you can
turn those curls into rolls

F you think Bette's circular roll on the

opposite page is too much of a good

thing, here it is in modified form. Just

enough to be charming, different and

refreshing. Don't you think it is nice?

"¥*-

THRILLING tri-
angle coiffure is
worn by Gail Patrick.
Every view is surprising
and different. The side
view, above, presents a
mass of tight ringlets.
The frontview, at lower
right, shows you that
this slant gives a very
demure picture. Then
the back, at lower left,
is very lovely. Hair is
slightly waved, the ends
gently rolled, a jeweled
band separating the
curls. Try this for that
next party and be a
great success. This
glamorous*coiffure, nat-
urally, requires the skill
of a good hairdresser
but is wel I worth it

(For More Beauty Tips
Turn to Page 92)

I NEVER TIRE OF

THE FLAVOR OF CAMELS

MRS. JAMES RUSSELL LOWELL

■ Mrs. James Russell Lowell loves
sports, plays tournament tennis
and bridge enthusiastically. Her Park
Avenue home, which she decorated
herself, has great distinction. She
summers on Long Island with her two
young children or in Europe, and
divides her winters between Palm
Beach and New York. She invariably
smokes Camel cigarettes

"THEY ARE SMOOTH AND MILD"

"The taste of Camel cigarettes is
always delicious — smooth and
mild without being flat or sweet-
ish. And they never get on my
nerves — which I consider impor-
tant," says Mrs. Lowell. "Natu-
rally, I have other brands in the
house, too, but most people agree
with me in preferring Camels."
People do seem to prefer a
cigarette that doesn't make them
nervous. That's why steady smok-
ers turn to Camels. Camel's cost-
lier tobaccos never get on your
nerves no matter how many you
smoke. And they always give you
a cool, mild smoke.

CAMELS ARE MADE FROM FINER,
MORE EXPENSIVE TOBACCOS THAN
ANY OTHER POPULAR BRAND

cckf<

Wtt&ZtC?Z><Z

t>&ec<xf

<z<ie

3yl Saint -L><

OULS

• • •

/tm\

ffw

L-^heeI

ARE SOLD EXCLUSIVELY BY

Stix, Baer & Fuller

COMPANY

As in Hollywood, so in Saint Louis! Look for
"Hollywood Fashions". . . faithful copies of the
smartest costumes worn by the most fashionable
stars ... in stores of fashion leadership! Exact
reproductions of the clever little frock worn by
Marian Nixon in the Columbia picture/The Line
Up" are being shown today in the resourceful
store of the Stix, Baer & Fuller Company ... as
in other stores of equal style reliance, in many
key cities! "Hollywood" Fashions for March,
sponsored by photoplay magazine and selected
by Seymour, PHOTOPLAY'S stylist, are on display!

OHHMMj

THIS IS ^ GENUINE

fj& M ffiO

[HOLLYWOOD FASHIONJ |

SELECTED t^^^^-$eq r*JltV I

Only genuine Hollywood
Fashions bear this label

PHOTOPLAY MAGAZINE

919 N. Michigan Ave.

Chicago, 111.

In Association with WAKEFIELD & O'CONNOR, INC.

// "Hollywood Fashions" are not sold in your city, send
PHOTOPLAY your name and address, mentioning- the
department store from which you buy ready-to-wear.

I NEVER TIRE OF

THE FLAVOR OF CAMELS

MRS. JAMES RUSSELL LOWELL

"THEY ARE SMOOTH AND MILD"

CAMELS ARE MADE FROM FINER,
MORE EXPENSIVE TOBACCOS THAN
ANY OTHER POPULAR BRAND

C€k/<

^Cce^Tu^ci

tzeccrf

&v€

3yi Saint J^x

OULS

ARE SOLD EXCLUSIVELY BY

Stix, Baer & Fuller

COMPANY

As in Hollywood, so in Saint Louis! Look for
"Hollywood Fashions". . . faithful copies of the
smartest costumes worn by the most fashionable
stars ... in stores of fashion leadership! Exact
reproductions of the clever little frock worn by
Marian Nixon in the Columbia picture, "The Line
Up" are being shown today in the resourceful
store of the Stix, Baer & Fuller Company ... as
in other stores of equal style reliance, in many
key cities! "Hollywood" Fashions for March,
sponsored by PHOTOPLAY MAGAZINE and selected
by Seymour, PHOTOPLAY'S stylist, are on display!

THIS IS A GENUINE

i_6

\m ililywood fashion)!

SELECTED E^^^^-^^.

Only genuine Hollywood
Fashions bear this label

PHOTOPLAY MAGAZINE

919 N. Michigan Ave.

Chicago, 111.

In Association with WAKEFIELD & O'CONNOR, INC.

// "Hollywood Fashions" are not sold in your city, send
PHOTOPLAY your name and address, mentioning the
department store from which you buy ready-to-wear.

Ask The A

nswer

Dick Powell doesn't look worried
over the controversy going on
among his admirers as to who
should hold the title "most popular
lad in musical pictures"

LETTERS come from far and near asking
about Bing Crosby and Dick Powell.
Their popularity seems to be at a draw.
Some admirers write in saying that Bing is
handsomer and has a better voice than Dick.
Others say, in no uncertain terms, that Dick
has all the looks and the best voice. In sewing
circles, at clubs and bridge parties, the question
of the popularity of these boys seems to start
a battle. Just who will come out on top is a
puzzle.

This old Answer Man has been called into
the argument to say his little piece in defense
of the lads, but really can't speak up for fear
of getting a boot from either side. So he'll
just sit back and wait to hear what you readers
have to say about Crosby and Powell. Now
for a short biography of the boys, which so
many of you asked for.

Bing — I mention him first because he is the
elder — had a six months' start on Dick. They
were both born in 1904; Bing on May 2nd,
Dick on November 24th. Dick is 6 feet tall
and weighs 177 pounds. Bing is three inches
shorter and twelve pounds lighter. Dick has
auburn hair, while Bing's is light brown. Both
boys have blue eyes, although Bing's are much
lighter than Dick's.

Bing is from Tacoma, Wash. His real name
is Harry Lillis Crosby. You'll have to put up
your "dukes" if you ever call him by his
middle name. He is married to Dixie Lee and
has one son whom he calls Gary, after his pal
Gary Cooper. Bing can't read a note of music,
but he can play the drums and swings a mean

Read This Before Asking Questions

Avoid questions that call for unduly long an-
swers, such as synopses of plays Do not inquire
concerning religion, scenario writing, or studio em-
ployment. Write on only one side of the paper.
Sign your full name and address. Kor a personal
reply, enclose a stamped, self-addressed envelope.

Casts and Addresses

cymbal. His favorite sports are golf and fish-
ing. His latest pictures are " College Humor,"
"Too Much Harmony," and "Going Holly-
wood."

Dick is from Mountain View, Ark. His full
name is Richard E. Powell. At this writing
he is matrimonially fancy free. Can play a
number of musical instruments. He spends
his spare time playing golf and tennis. His
latest pictures are "Footlight Parade," "Col-
lege Coach," "Convention City" and "Won-
der Bar."

Martha Arnold, Bethel, Vt. — Yes, Mar-
tha, the Phil Harris who played in the picture
"Melody Cruise" is the same Phil Harris you
hear over the radio.

Dorothy Boyle, Fort William, Ont.,
Can. — Douglas Scott was the little fellow who
played the role of Derek in "Devotion."
Dickie Moore was Little Hal in "The Squaw
Man."

Eve Kirkman, Brooklyn, N. Y. — The role
of Katharine Howard's lover in "The Private
Life of Henry VIII" was played by Robert
Donat.

Anita Gamewell, San Benito, Tex. —
Cary Grant was born in Bristol, Eng. He
has brown eyes and black hair. Mae West,
born in Brooklyn, N. Y., gives her birthday as
August 17, 1900. You were almost right.
Dick Arlen has blue-gray eyes. Warner Bax-
ter has been married to Winifred Bryson since
1917.

Several Latin Women, Buenos Aires,
S. A. — You girls have too many favorites for
me to describe in this small space. However,
here's the lowdown on lovely Jean Harlow.
Jean was born in Kansas City, Mo.,
March 3, 1911. She is 5 feet, 3 inches tall,
weighs 112 pounds and has platinum blonde
hair and blue eyes. Her real name is Harlene
Carpenter. She was married to Hal Rosson
last September. If you want your other ques-
tions answered, send a self -addressed envelope.

Alice La Flamme, Holyoke, Mass. —
Bruce Cabot's real name is Jacques Etienne de
Bujac. He is married to Adrienne Ames.
Alice, don't believe everything you read in the
newspapers. I know it was reported that
Ruby Keeler would desert the screen to be
with her husband Al Jolson when he retired
from pictures. But Al is so pleased with the
way his picture "Wonder Bar" has turned
out, that he has decided to stay in Hollywood
and make several more. So you will be seeing
more of Ruby, too.

Ruby T. Howell, Tarboro, N. C. — Two
versions of "Hold Your Man" were made.

Bing Crosby, a contender, seems
rather pleased that he is in on the
right. The Answer Man wonders
where the Rudy Vallee-Russ Col-
umbo contingents are hiding

In the first, Jean Harlow and Clark Gable were
married by a colored minister. The other one,
showing them being married by a white minis-
ter, was made to replace the first version in
States in which any controversy over the matter
might arise.

A Cavalier, Hackensack, N. J. — As you
didn't give me your name or send a stamped
envelope, I couldn't arrange to send you the
Fan Club information. If you want a list of
Fan Clubs, write to the Photoplay Association
of Fan Clubs, 919 N. Michigan Avenue, Chi-
cago, 111. -Each month, in the magazine, you
will find up-to-the-minute news of the activities
of various clubs. Watch for it.

R.T.M., Buffalo, N. Y. — Yes, it is true that
Janet Gaynor and Charles Farrell will make
pictures together again. Charlie signed with
Fox to make two pictures with Janet. I know
how glad the Gaynor-Farrell admirers will be
to hear this.

Dixie Wenton, Little Rock, Ark. — The
hats you mentioned were named after the
actress and are still being made under her
name.

Helen Hutchins, Baltimore, Md. — Helen,
you'll be seeing your old friend, Ronald Col-
man, back on the screen once more. He is
going to make "Bulldog Drummond Strikes
Back" for 20th Century. For a second time,
Loretta Young will be Ronnie's leading lady.

Took Out, Patricia P says Sylvia

CONTINUED FROM PAGE 73

you have a wonderful complexion and will give
you the disposition of a saint because you'll
be so beautifully healthy.

First thing in the morning, take a glass of
cold water with the juice of half a lemon
squeezed in it.

Then have your luke warm shower (you can
taper it off with cold water if you like) and
fcrub your body with a good stiff brush and
plenty of soap, working most vigorously on
your spine. This increases circulation. Now
have your first meal.

Breakfast

Two sliced oranges

One coddled egg

Three or four pieces of toasted rye wafers

with a little butter and honey
Coffee or tea — clear

Eleven O'clock

Glass of tomato juice

Luncheon

Big dish (and I mean big) of sliced, raw, red
cabbage with an apple grated in it and
just plain lemon juice on that. Eat as
much of this as you can.

Dish of fruit jello — no cream

If you like it take a cup of tea with lemon,
no sugar.

Four O'clock

Glass of orange juice

Dinner

One whole stalk of celery

Cup of consomme with a tablespoon of

chopped raw parsley in it
One double lamb chop or an equal amount of

any broiled meat
Three tablespoons of fresh green peas
Two heaping tablespoons of turnips
One-fourth head of lettuce with a thin

French dressing without much oil and a
raw carrot grated on top

( Eat salad with meat course)
Raw fresh fruit and demi-tasse.

There's a diet that won't put an ounce of
weight on you but which is probably more
than you're eating right now. You'll never
starve on that diet and it also contains the
valuable minerals you should have. It's a won-
derful health builder and beautifier.

And it will do something else for you, too.
It will make you feel so good that when you
smile, the corners of your mouth will turn up
instead of down as they did sometimes in
"Convention City."

That's the end of the lecture, Patricia.
Every word I've written you is true. And
every word goes for other girls as well. I've
done it for your own good. Hop on that diet
wagon and those exercises right away. And
the best of luck in the world to you.
Yours,

Sylvia.

.nswers

by Syl

via

Dear Sylvia:

I wish you could tell me how to overcome
self-consciousness. I'm so timid that it is
painful for me to enter a room.

A. A., La Junta, Colo.

Technically this letter doesn't come in my
department but I'm going to answer it, any-
way, because I've got an answer for it. If you
stay on my health diets, if you make your figure
so lovely that you'll know you're the best-
looking girl in your set, and if you learn to
walk with your shoulders back, your stomach
in and your head high you can't be self-
conscious because you'll be sure of yourself.
You'll know you're attractive! And that's the
only way to overcome timidity — to know
you're okay!

My dear Madame Sylvia:

Xow that wines and liquors are in I've been
wondering if they're fattening. Almost every-
where I go they serve wine with dinner and
I don't know what to take.

Mrs. R. H. T., New York City.

Alcohol if taken in large quantities is fatten-
ing. But so is food. The diet I've given you
is moderate. Well, be moderate about your
drinking, too, and a little wine with your meals
won't hurt you. Don't overdo it — that's all.

Dear Sylvia:

My bust is large enough but I have a bony
chest. I wish you could tell me how to cover
up those bones. As a matter of fact, except for
my bust, I'm slightly thin all over.

B. D., San Antonio, Texas.

Then the thing for you to do is to go on my
building-up diet and exercises. If you don't
have this information, send a self-addressed
stamped envelope to me, care of Photoplay
Magazine, 221 West 57th Street, New York
City, and I'll send it to you. A lot of you thin
girls have a large bust, but when you start to
build up generally your bust won't become
larger. Anyway, it's very fashionable to be
large through the chest and don't be afraid
that you'H put on any more weight there,
because you won't. You're probably under-
nourished and aren't eating the right foods.

MY, how the troubles come in —
but how I like to see them! I
know, you see, how I can make them
disappear — so you'll understand why
Aunt Sylvia says, the more the better.
If you have a problem, I'll be glad
to help if you'll just write, addressing
your letter to Sylvia, care of PHOTO-
PLAY Magazine, 221 West 57th
Street, New York City. For a direct
answer, enclose a self-addressed
stamped envelope; otherwise watch
these columns. No obligations what-
ever, of course — I'm only too glad to
help.

SYLVIA

Dear Sylvia:

I took your reducing diets and exercises and
they worked marvels. When I was just the
weight I wanted to be I went back to eating as I
had been before and put on three pounds in a
week. What should I do about that?

M. H., Sacramento, Calif.

Shame on you! I'll bet I know exactly what
you did. The minute you got down to the
size you wanted to be you thought your
responsibility was ended and you began to eat
your head off. Well, you can't do it! I've an
in-between diet — one that won't put flesh on
but that keeps you at the right weight —
which I'll send if you enclose the usual self-
addressed, stamped envelope.

Dear Sylvia:

A friend of mine tells me that apples are
fattening. I'm very fond of them but don't
want to put on any more weight.

Mrs. L. L., Tacoma, Wash.

Maybe if you ate a dozen apples a day along
with your regular meals they'd be fattening.
But almost no fresh fruit is fattening and it is
wonderful for your health. I recommend
apples on many of my diets. A wonderful way
to eat them is to grate them over sliced, raw,
red cabbage and squeeze a little lemon juice
over it. What a grand salad that makes!

Dear Sylvia:

I'm quite nervous and although I'm very
careful about my diet and don't eat rich or
highly seasoned foods, I feel uncomfortable
right after every meal and then if I eat less I
notice that between meals I feel faint and
hungry. I'm trying my best to get over my
nervousness, so please don't bawl me out
about that.

W. R. Y., St. Louis, Mo.

I never bawl anybody out if I find that per-
son is honestly trying to overcome a handicap
and your letter sounds most sincere. You're
just the sort of person I like to help best.
Instead of taking three big meals a day take
five light meals a day. This will aid your
digestion and give your stomach something
to be busy with all the time. Eat as little
meat as possible. Eat plenty of fresh vege-
tables and fruits and lots of grated carrots.

My dear Madame Sylvia:

I am sway-backed and I wish you would tell
me how I can overcome it.

B. T., Lexington, Ky.

In the first place be thankful that you're
sway-backed instead of stooped. You must
learn to support yourself with your abdominal
muscles. In this month's letter I've given
Patricia Ellis a fine stomach exercise. Even
if your stomach isn't very large that exercise
will strengthen the muscles and help you
correct your posture. Stand in front of your
mirror and practice proper posture.

Dear Sylvia:

I am fifteen years old, with no weight prob-
lem. But I love sodas. I drink lots. My
mother tells me it will ruin my skin. What do
you think?

M. H. Reading, Penna,

Your mother is right. Lay off sodas if you
want a good skin. Since you have to have sugar
for energy, take it in natural form, brown or
unbleached sugar on your breakfast fruit — any
kind but bananas. Include tomato and orange
juice and plenty of fresh, green salads and fresh
fruit in your diet. Take your milk in the middle
of the morning instead of with meals.

Photoplay Magazine for March, 1934

AVOID
OFFENDING

Underthings absorb per-
spiration odor — protect
daintiness this easy way . .

No girl need ever be guilty of
perspiration odor in under-
things. Lux takes it away
completely and saves colors!
And it's so easy.

But do avoid cake-soap rub-
bing and soaps containing
harmful alkali— these things
fade colors, injure fabrics.
Lux has no harmful alkali.
Safe in water, safe in Lux.

—for underthings

Removes perspiration odor— Saves colors

9°

Photoplay Magazine for March, 1934

S WHO

no know this

VEARS AGO My
IOVELV SOUTHERN
GRANDMOTHER
FIRST TAUGHT
ME THAT A GIRL
WHO WANTS TO
BREAK HEARTS
SIMPLV MUST
HAVE A TEA-ROSE
COMPLEX

SO MANY GIRLS have asked Irene Dunne
how to make themselves more attractive . . .
how to win admiration . . . romance.

Here this lovely star tells you! And her
beauty method is so simple . . . regular,
everyday care with exquisitely gentle Lux
Toilet Soap.

Do follow her advice! See how much
clearer, softer, lovelier your skin becomes

YOU

savs

RKO-Radio Star

. . . how that extra-lovely complexion wins
hearts — and holds them!

Nine out of ten glamorous Hollywood
stars . . . countless girls the country over . . .
have proved what this fragrant, white soap
does for the skin.

Is yours just an "average" complexion?
Don't be content — start today — have the
added beauty Lux Toilet Soap brings!

S.-r.

can have

the Ck

arm men

Photoplay Magazine for March, 1934

secret always win out

NOW THAT I'M ON THE SCREEN
I REALIZE MORE THAN EVER THE
FASCINATION THERE IS IN PEARLV-
SMOOTH SKIN. I FOLLOW MV LUX
TOILET SOAP BEAUTV TREATMENT
REGULARLV EVERY OAV.

Precious Elements in this Soap —

<inVnricrc cav "Skin grows old-looking through the
OL-lCllUSi:* **:' gradual loss of certain elements Nature
puts in skin to keep it youthful. Gentle Lux Toilet Soap, so
readily soluble, actually contains such precious elements —
checks their loss from the skin."

carf t r<

How to Make Yo ur Eyes Lovely

By Carolyn Van Wyck

DOCHELLE HUDSON poses
IN for us to illustrate Lilian Har-
vey's unique method of making
up her lashes. First, a tiny bit of
cream is applied to the under
side of upper lashes, these dusted
with a little powder. Then the
mascara is applied. Cream and
powder give additional body to
lashes. Suggested forextra heavy
effect only

THERE is hardly a player in Hollywood who
hasn't lovely eyes — on the screen. It should
be interesting and consoling to every reader to
know that these lovely eyes often are a matter
of clever make-up. For they, like the rest of us,
are not all gifted with dark, thick lashes, with
perfect shadow that nature gives one out of ten,
or brows that are ideal frames for their eyes.

First of all, every girl needs to take reason-
able care of her eyes; to rest them when they
are tired, not to strain them, and to use a good
tonic or eye wash, in dropper or eye cup, when
they are tired or have been exposed to wind and
dust.

There are three artifices upon which you may
depend for external beauty. They are a good
mascara or darkener, eye shadow and eyebrow
pencil. These must be employed gently and
subtly if you want true beauty without that
made-up look.

Right here, I should like to correct a wrong
impression that may have come to some of you
through adverse criticisms and comments on
eyelash dyes. In some localities the sale of eye-
lash dye has been banned because of a few cases

FOR depth and beauty, a
touch of shadow to upper
lids is necessary. Rochelle
Hudson commentsthat
brown is the least conspicu-
ous of all tones. Use only
on upper I ids; never beneath

of eye injury that seemed to have resulted from
the use of dye. But mascaras and darkeners
are not dyes in any sense, and you have no need
to fear good brands. This make-up aid, as you
know, is merely a substance applied to the
lashes for darker and heavier effect. And does
it work wonders on lashes, especially on those
that are scant or very blonde!

Always use your mascara or darkener accord-
ing to the instructions on the box. Remember
that this advice has been worked out for you
most carefully and will give better results than
a careless method.

Mascaras are very convenient because you
apply them when you want, take them off when
you want. They have developed to the stage
today where they do not dry or make your
lashes brittle, and many are water-proof so
that you may see your favorite picture and
weep, or walk in rain or snow without fear of
the moisture ruining your eyes. You may also
use this type when in swimming without fear
of running or streaking. Cream seems to be
the best way to remove the water-proof type.
If your mascara is not water-proof, remove it
with cold water. Always work very gently on
the eyes; never scrub or handle them roughly.

TN applying mascara, always brush upper
-^-lashes upward and lower lashes downward.
Hollywood often darkens its upper lashes with-
out touching the lower ones. In the case of
blondes, this often gives a beautiful effect to
the eyes. If you have long lashes that droop
slightly toward the outer eye ends, mascara
them all lightly then make that outer end quite
heavy. This will give you that unusual Garbo
lash effect, and make your eyes appear longer.
If you have the round Mary Brian type of eye,
an even lash fringe is more flattering.

In applying shadow, always use it lightly.
The upper lid is the place. The color may
extend lightly to the brow, but should be con-
centrated just above the lashline. Tones arc
most exotic, some flecked with gold or silver,
which gives the lids a dewcy freshness.

The eyebrow pencil is a great aid for brows
and you may also do some nice things with it
on the eyes, themselves. You can extend the
outer corners just a bit and give yourself larger,
longer eyes, or you can draw a light line on the
lid just above the lashes before you darken
them. Experiment carefully with your eye
make-up to give your eyes just the touches
they need for more beauty.

EYES Like the Stars" is the
newest leaflet we have
worked out for you. It gives
practical Hollywood hints
for eye health and beauty
and lists names of reputable
products. Leaflets on skin,
hair, home manicure and per-
sonal daintiness are still avail-
able. Simply send a self-
addressed, stamped envelope
to Carolyn Van Wyck,
PHOTOPLAY Magazine,
221 West 57th Street, New
york City, for these or con-
sultation on your personal
beauty problems.

Photoplay Magazine for March, 1934

JOAN CRAWFORD

and

CLARK GABLE

in Metro- Goldwyn- Mayer'

"DANCING LADY

Max Factor's Mate-Up Used

Exclusively

Learn How Screen Stars Create Roma?itic Beauty with
HOLLYWOOD'S COLOR HARMONY MAKE-UP

THE secret of beauty's attraction is color. This is the reason
for the different appeals of blonde, brunette, brownette
and redhead types. To emphasize this attraction, Max Factor,
Hollywood's make-up genius, created color harmony make-up
for each individual type. Every famous screen star knows this
secret, and intensifies the charm and allure of her type with

correct color harmony in face powder, rouge and lipstick.
Natural beauty is emphasized with a color harmony that attracts.

Now you may share this Hollywood secret. The luxury of
color harmony make-up, created originally for the stars of the
screen by their genius of make-up, is yours. See how Joan Crawford
— illustrated below — creates her own color harmony make-up.

POWDER

. . . You 11 mari'el hoiv the color
harmony tone of Max Factor's
Face Powder actually enlivens
the beauty of your skin. Match-
less in texture, it creates a satin-
smooth make-up that clings for
hours. You ivill note the differ-
ence instantly . . . One dollar.

ROUGE

. . . Created to screen star types,
the color harmony tones of Max
Factor's Rouge impart a fascin-
ating, natural and lifelike glow
to your cheeks. Creamy-smooth
. . . like finest skin texture . . .
it blends and clings just as you
•would leant it to... Fifty cents.

LIPSTICK

...Super-Indelible, for in Holly-
wood lip make-up must remain
perfect for hours. Moisture-proof ~
too .. .you apply it to the inner
surface also, giving a uniform
color to the full lips. In color
harmony tones to accent the ap-
peal of lo'vely lips. . . One dollar.

Society Make-Up...^^ Powder, Rouge, Lipstick in Color Harmony

1934 Max Factor

Test YOUR Color Harmony f^
in Face Powder and Lipstick

Just fill in coupon for purse-size box of powder in
your color harmony shade and lipstick color tester,
four shades. Enclose 10 cents for postage and
handling. You will also receive your Color Har-
mony Make-Up Chart and a 48-page illus. book,
"The New Art of Society Make-Up"...FR'EE.

il this Coupon to Max Factor, Hollywood 1-3-73

COMPLEXIONS

Very Light D

Fur D

Creamy Q

Med.um D

Ruddy D

Sallow D

Freckled D

Olive D

SKIN Dry D
OilyD Normal D

EYES

Blue D

Gray D

Green D

Haael □

Brown D

Black D

LASHESlC!.,)

Lighi □

Dark D

HAIR

BLONDES
Ligr,I__Q Dark-.O

BROWN ETTES
Light__D Dark..D

BRUNETTES
Ligr.t..Q Dark. .O

REDHEADS

Ligl«--D Dark..D

If Hair il Cray.chnt

ryjx alum aWftrre.D

Photoplay Magazine for March, 1934

t.Vry those tears, «£■

^;at/anC soaps

010719 ' msUnlike
smooths up ^ skit.

Jwry.'"-

"And don't think your
comvlexion stops at the
neckline, sister! Please,

if you want your a»-
overcomvlexiontomatch
your face, do as we do-
take Ivory oaths"

baby-s»ootfc skin, use
H vou want a d* j tHient

" y the baby's beauty ^ ^

. .,- dry up the .

XJ , 0ns that lubri-

°a!lvm^ ^ lv°ryl baby about
your batb, too- Q* stop at
your comply d ^ over you
Andyourall-o^ syoU face
purity 3ust as tu Ivory bath
does. So bop intoy lean

and scrub *oU^ ng lather. You u
^tVlIvory'scleansmj voryS

w ....oriiantana&i" „*vour

, -^ow's the
Spring's on *e ^ your good
i to talce stoc^ letoWear

;f vou want to ue ^

l°° uS bright colors that
the alluring n.

be so popul^ tb^on? Dull
How's your corny wmds?

, • „•? "Roughened by t* be

ral\yclear,baby sm hesoapthat dauy beau* you that

ivory, yo» kno"ofons ot babies » can reKave. LucW you can
^«Pa - "TauSt Doctors adv.se * „ s0 rnodest^

Soap

I V O r J M ooat9

They, Too, Were
Stars

[ CONTINUED FROM PAGE 40 ]

Grace Cunard, Francis Ford, Flora Finch (John
Bunny's leading lady), Alice Lake and King
Baggot are among the many who make a living
this way.

But there are others who continue to force
Hollywood to yield them success by applying
their experience and contacts, tempered with
more than a dash of wit and ingenuity, to the
business of making a living, although without
the glamour and fame of yesteryear.

Helen Ferguson and Eileen Percy have
heeded the call of printer's ink. Helen, left a
comfortable fortune by her late husband,
William Russell, lost every penny in a crash
of a Beverly Hills bank, and started a publicity
business.

Today Helen ranks among the most active
press-agents of Hollywood, with a long list of
clients, including Fay \\ ray, Gene Raymond,
Johnny Alack Brown, Patsy Ruth Miller and
Sidney Blackmer.

PILEEN PERCY, still as beautiful as she
-'-'was when counted among the leading serial
queens of the screen, writes Hollywood news in a
column which is syndicated.

Seena Owen recently initiated a literary
career by joining the scenario staff of Para-
mount studios, a route followed before by
Raymond Griffith and Ralph Graves with
more than ordinary success. Ray, whose lack
of an audible voice sent him from a top-ranking
star's berth to retirement overnight when the
talkies came in, is Darryl Zanuck's right hand
writer and producer at 20th Century, and
Ralph occupies a similar spot at M-G-M.
Douglas MacLean is at Paramount as an
associate producer.

Movie stars confronted with the problem
of raising their boys to be soldiers have
enabled Earle Foxe, who was starred for years
in two-reelers and who was featured in many
early releases, to make quite a good thing out
of the Black-Foxe Military Academy, one
of Southern California's most pretentious
institutes.

Max Asher, the old Century Comedy star,
clings to Hollywood with his magic shop;
George K. Arthur, the English comic, produces
his own stage plays at the Hollywood Play-
house; Gardner James improves cinema minds
at his Boulevard book shop; AnnLittle manages
the Chateau Marmont, fashionable Hollywood
apartment, and Hank Mann, still doing
sporadic screen roles, keeps the grocer paid
with his new beer parlor — a Repeal idea
emulated by Francis X. Bushman, the first
male beauty of the screen and heart beat of the
nation's matrons.

BUSHMAN, it was, who, not over two years
ago — boasting that he had spent a million
dollars in his life and was accustomed to
luxury — offered to marry any woman who
could keep him in the style to which he was
accustomed! (No one took him up.) He
opened a liquor store in Chicago, where he had
made his unusual offer, when the country re-
claimed John Barleycorn.

But reclamation is exactly what ruined the
once immensely wealthy and powerful director-
producer, Edwin Carewe. famed as thediscoverer
and developer of Dolores Del Rio.

Carewe, who always had the propensity for
spreading his interests, taking turns at "angel-
ing" stage shows and magazines, went into
the garbage reclaiming business on a big scale
not long ago.

The company, known as the Biltmore Con-
servation Company, operated in Dallas, Texas,
and Petaluma, California. Ambitious city
contracts were obtained and the garbage
turned into chicken feed and fertilizer. Carewe

Photoplay Magazine for March, 1934

dropped thousands in the venture and today
is in bad financial straits.

If you don't mind jumping from garbage to
marriage, it's easy to account for many former
big stars who have found the answer in Holly-
wood marriages and screen retirement.

Theda Rara, as the wife of Charles Brabin,
the director, is a prominent social leader in the
colony. Jobyna Ralston is satisfied with being
just Mrs. Richard Arlen. Enid Bennett is
Mrs. Fred Niblo; Marjorie Daw, Mrs. Myron
Selznick; Mildred Davis, Mrs. Harold Lloyd;
Laura LaPlante, Mrs. William Seiter; Bessie
Love, Mrs. William Hawks; Gertrude Olm-
stead, Mrs. Robert Leonard; Cleo Ridgley,
Mrs. James Home; Constance Talmadge, Mrs.
Townsend Netcher; Rosemary Theby, Mrs.
Harry Meyers; Virginia Valli, Mrs. Charles
Farrell, and Jewel Carmen, Mrs. Roland West.

Marriage also has called away many stars
from the town which made them famous.
Irene Castle became a Chicago McLaughlin;
Dorothy Dalton is the wife of Arthur Hammer-
stein, the stage producer, and lives in retire-
ment on Long Island; Rex Ingram took Alice
Terry to live with him abroad, where he
recently adopted the Moslem faith; Carol
Dempster married Edwin Larsen, a New York
banker.

PHYLLIS HAVER, the Sennett beauty, is
■*- the wife of the wealthy William Seeman of
New York; Madeline Hurlock boils the morning
eggs in Manhattan for Marc Connelly, play-
wright of "Green Pastures" and Pulitzer
prize winner; and Gladys Walton is the wife
of a Universal film exchange manager in
Chicago.

The list of forgotten stars winds on endr
lessly, with every year that passes adding new
names to the scroll.

Hollywood is too busy to keep track of its
alumni, failures or successes. Like the rest of
the world, it must ever look to the future instead
of to the past.

But it is dangerous as well to speculate too
much on the future, so in Hollywood the stars
take the fruits of today while they hang, rich
and ripe with wealth, fame and adulation,
hoping against hope that the harvest will
always be bountiful, that never will they have
to stand in the crowd by the wayside to watch
the dazzling parade pass by with only this
wistful claim to distinction —

"Once I, too, was a star!"

I M

" J

^^H

L^m Wk.

Hollywood's heroine steps out to a
gay party. Remember the seige of
long invalidism Anna Q. Nilsson so
bravely survived? Now she's on her
way back to screen popularity

RY. . . just try . . .

to equal the New GLAZO
even at 3 times the Price!

Does the smartly wise girl pay more than
a quarter for nail polish? Not any more. . .
not since the new Glazo. But the glory of
Glazo on your fingers' ends is something
quite apart from a mere matter of price.

For the richer lustre of Glazo's new lac-
quers gives your fingertips a lovelier sheen
that wears . . by actual test . . 50% longer.

And Glazo's six authentic shades are
nominated for perfection by beauty and
fashion authorities. The exclusive Color
Chart Package eliminates any "guess" in
selecting the ones you'll like best.

A new metal-shaft brush, with its soft,
uniform bristles, makes application easier
on either hand. And the brush won't come
loose!

Polish Remover . . . when you suddenly
run short . . . can be a mighty important
thing in your life. But the extra-size bot-
tle of Glazo Remover goes just as far as
your polish and gives you more for your
money.

No wonder so many ardent rooters for
the new Glazo are girls who used to pay
lots, lots more!

GLAZO LIQUID POLISH. Six authentic shades.
Natural, Shell, Flame, Geranium, Crimson, Man-
darin Red, Colorless. 25c each. In Canada, 30c.

GLAZO POLISH REMOVER. A true cosmetic,
gentle to nail and skin. Removes even deepest polish
completely. Extra-size bottle, 25c. In Canada, 30c.

GLAZO CUTICLE REMOVER. A new liquid cuticle
remover. Extra-size bottle, 25c. In Canada, 30c.

GLAZO TWIN KIT. Contains both Liquid Polish
and extra-size Polish Remover. In Natural, Shell,
Flame, 40c In Canada, 50c.

THE GLAZO COMPANY, Inc., Dept. GQ-34

191 Hudson Street, New York, N. Y.

(In Canada, address P. O. Box 2320, Montreal)

I enclose 10c for sample kit containing Glazo Liquid
Polish, Polish Remover. and Liquid CuticleRemover.
(Check the shade of Polish preferred) . . .
□ Natural D Shell □ Flame D Geranium

Cal York's Monthly Broadcast from Hollywood

[ CONTINTJED FROM PAGE 49 ]

Of course if too many kisses come her way,
Evelyn can always fall back on the contract,
which says osculation is out, even if it is
only acting. Evelyn's father stood pat on
that.

/^\NE of the sights the fans will never see.
^^^Georgie Raft, all dressed up in an em-
broidered white suit for his tango dance in
"Bolero" sitting on the set with his aching feet
in a bucket of hot water. Oh, Romance, how
could you do this to us?

"OERHAPS you might say "I didn't raise my
boy to be a butler," but that isn't the way
Halliwell Hobbes feels about it. Hobbes is
one of the ace butlers on the screen — and his
eighteen year old son, Peter, is serving an ap-
prenticeship with his father in Norma Shearer's
new picture, "Rip Tide."

/^OOD gracious, you can't star a girl with a

name like "Ginger" in a famous old Ethel

Barrymore play. Ginger Rogers is set to play

in a picture version of the stage classic,
" Declasse," and the studio is prospecting for a
new moniker.

T\ 70ULD you have an ultra-smart living-
room, modeled after the swankiest in
Hollywood ? Here's how.

Get out grandma's old-fashioned pickle and
conserve dishes, and grandpa's moustache cup.
Put matches and cigarettes in them, and
scatter around. Leave the floor absolutely
bare, but for one hook rug in front of the fire-
place. Resurrect a number of old mirrors, with
the silver cracked off the back, so they throw
you out of focus. Frame one in a tarnished gilt
frame and hang over the mantel. Remove all
books from sight, and introduce a tall rubber
plant, in a white pot. Make a pink lamp-shade
exactly like the Mad Hatter's hat, sew glass
leaves around the bottom, and set it on a base
that looks exactly like a silver gold trophy.
Toss some white dotted swiss pillows with
ruffles, on the sofa. Place a huge framed
photograph of your husband and yourself, in

Look at that trick way Colleen
Moore's arranged her hair. Every-
one's talking about it. Colleen was
snapped thus at her own party with
guest Jeanette MacDonald

f-'ECIL B. DE MILLE isn't hard to please—
^not at all.

Describing the actor he was seeking to play
the role of Mark Antony in "Cleopatra," De
Mille said — "He must have a chest big enough
to camp an army on and be strong enough to
drink all his soldiers under the table and then
complete a love affair with the most desired
woman in the world."

Until the "whattaman" shows up, why not
use Jimmy Durante? Maybe he couldn't en-
camp the army on his chest, but they could
roost on his nose.

T)ITY the poor postman in Hollywood — or
maybe he's not to be pitied at all — it de-
pendson how you look at it. Most of Mae West's
fans take delight in addressing her indirectly.
Most letters have been addressed " Come Up
and See Me Sometime, Hollywood." "You
Can Be Had," "Tell Your Fortune," "You're
No Angel" and "Take Your Time" have also
been popular addresses.

HTHERE is one confirmed nudist in Holly-
wood — Oscar the penguin.

Oscar went on location with Victor Mc-
Laglen and Edmund Lowe in "No More
Women," who tried to put him in decent shape
for his appearance before the camera.

But as soon as they would paint a row of
buttons down his white chest, Oscar took his
bill and rubbed them off.

No fine and fancy feathers for him.

A LL the publicity anent the anti-kissing
clause in virginal Evelyn Venable's con-
tract with Paramount finally backed up on
Evelyn, and caused her to send out a hot retort
to the effect that " If a kiss comes my way, I'll
know how to handle it."

Jean Muir looks particularly charming in this scene from "As the Earth
Turns." She's one of Warner Brothers' new finds— a graduate from the
stage, beautiful, ambitious, very determined, and starred for success

Photoplay Magazine for March, 1934

costume of the Gay Nineties, on the piano. On
a what-not, in the corner, place some resur-
rected shepherdesses and other antique por-
celains. Get out all your souvenir spoons
(Chicago World's Fair— 1893, Niagara Falls,
etc.), and the oldest, thinnest, fanciest china
and silver, for tea. If you haven't an old
sugar bowl that looks like a gravy boat, then
use the gravy boat for sugar. The smartest
hostesses are serving tea (since the repeal) in
place of cocktails, with lovely fragrant China
tea, and little old-fashioned spice cakes or nut
bread.

When your living-room looks like this, it will
be a duplicate of one of the smartest rooms in
Beverly Hills — the one in the home of Lilyan
Tashman and Eddie Lowe!

pDMUND LOWE will probably never learn
about Victor AIcLaglen's chin. It's hard —
very hard.

In spite of all the fights those two have had
in their rough and ready screen career, Eddie
has never been able to pull his punches enough
to save his own hands when he lands one on
Vic's button, which is something like the rock
of Gibraltar.

So it never hurts Vic a bit, but after "No
More Women," Eddie, as usual, appeared with
his hand in a sling. He had his usual broken
fingers.

A T the tea Mrs. Borzage gave her director
husband, Frank (" 7th Heaven") Borzage,
Johnny Mack Brown seemed to attract all the
fair ladies by wearing a loud tan and beige
checked sport coat and beige trousers. And
with those black curls, did Johnny look hand-
some?

Bruce Cabot, it was noticed, never left his
fair wife's side, and Adrienne seemed to want
it that way.

Lyle Talbot was dancing attendance, as
usual, on the Countess di Frasso and Mary
Brian brought her brand new conquest, Russ
Columbo.

[ PLEASE TURN TO PAGE 126 ]

Bob Woolsey certainly looks snooty!
But Thelma Todd is right there with
the cold shoulder! The pair are
acting silly in "Hips, Hips, Hooray"

* Look what I found

"X7"ES, that gorgeous ring means I'm
JL engaged ! — to the man I've always
loved — and almost lost.

"For a time, he seemed to avoid me.
I wondered why, until . . .

"... he sent some flowers to my chum,
and I ... I read the card. It said 'To the
girl with the loveliest smile I ever saw'!

"That day I spent gazing into my mir-
ror. Realizing how dull my teeth had
become — wondering how my chum kept
her teeth so sparkling white.

"Well, trust me. I found out. 'The
things you eat and drink,' she told me,
'leave 7 kinds of stains on teeth. Mere
hints of stains, at first. But most tooth-
pastes don't remove them all, so your
teeth gradually grow duller. Use Colgate's
Dental Cream — it's specially made to
remove all seven kinds of stains!'

"Well, you can see I took her advice.
See how my teeth gleam — how gorgeously
white they are.

"We're being married in June."

Would you love to see your teeth whiter,
more sparkling? Then let Colgate's two
cleansing actions remove all 7 kinds of
stains that come from food and drink —
stains no dental cream with one cleansing
action can remove.

And ten days from now, see what a
difference this two-action dental cream
can make. Gives sweeter breath, too.
And Colgate's, at 20c, is the most eco-
nomical of all good toothpastes . . . the
least expensive of all beauty aids. Buy
a tube today.

If you prefer poivder, Colgate's Dental
Powder also has TTPOcleansing actions.
It gives the same remarkable re-
sults and sells at the same prices.

Don't let the 7 stains mar
your beauty. . .your Jutppiness

Chef Lehn is shown serving an attractive tray of cocktail
ments to Colleen Moore, who takes great pride in her

COLLEEN MOORE'S parties are hailed as among the
most popular in the film colony, and when she wants
especially appetizing delicacies, she calls on Fernand
Lehn, head chef of the Roosevelt Hotel in Hollywood.
Lehn has consented to pass on to you some of his choicest
recipes.

In the silver bowl is one of the grandest mixtures you ever set
a cracker to. Or, if you. prefer, use potato chips to scoop it up!

Mix a square of cream cheese (about half a pound) to a smooth
mixture with 2 tablespoons of mayonnaise, 1 tablespoon of
onion juice, and J^ teaspoon of Worcestershire sauce. Beat it
to a smooth cream. It's elegant.

Another one, delightful and easy
— place thin slices of pickle on sal-
tines or butter crackers. Cover
each with a slice of American cheese
and a dash of paprika. Place under
the broiler until the cheese melts.
Be sure to serve hot.

A NICE departure from the usual
olive-and-bacon delicacy, is to
use large ripe olives stuffed with
anchovies or walnuts. Wrap the
bacon around the olive, anchor
with a tooth-pick, place in a hot oven
until bacon is crisp and serve hot.

A rather elaborate cocktail accom-
paniment is Chef Lehn's "Cornet
of Chicken, Suedoise" or Swedish.

For this, dice very finely some cel-
ery, apples, smoked salmon, grape-
fruit and chopped watercress— same
amountofeach. Season and moisten
slightly with French dressing. Form
cornets with slices of chicken cut

Tempting
Snacks
for the

Cocktail
Hour

very thinly, and fill them with the mixture.

The popular Russian Pyrochock is made
with a filling exactly the same as a chicken
croquette mixture, with plenty of onion.
Then little shells of puff paste are filled
with this concoction, and baked.

A delicious accompaniment to cocktails
is the cheese stick, as made by Chef Lehn.
Cut long, thin strips of American and
Swiss cheese, with enough body to keep
them from breaking. Then roll in beaten
egg, flour and bread crumbs. Fry in hot
butter fat, and serve very hot. These are
exceptionally tasty tidbits.

The little mushroom-shaped tempters are made oifoies gras,
on a toast foundation. Brown little rounds of toast, and small
strips. Then cover with pate de foies gras, shaped to resemble
the top and stem of a mushroom. Then stick them together,
and roll in very brown crumbs.

Caviar canapes are simple to make. Cut out crescents of
thin toast.

Blend caviar, paprika and finely minced onion or onion juice.
Spread on the toast and garnish with pimento.

And celery stuffed with the delicious "silver bowl"
mixture is both decorative and appetizing.

accompam-
parties

Here you may distinguish the delicacies for which Chef Lehn has given you

his own tested recipes. It always seems much simpler to make these fancy

little tidbits once you have seen the finished product

Photoplay Magazine for March, 1934

Is It Garbo or

Hepb

rn?

[ COXTINl 11) FROM PAGE 30 |

before her and become a universal idol purely
through acting ability.

An acting ability which almost all Holly-
wood agrees is greater than Garbo's.

And you can't relegate Garbo's ability to
any mediocre classification. She is a great
actress, a soulful actress, a devout actress. No
one can see "Queen Christina" without feeling
the hypnotic power of this woman when she
comes on the screen. It cannot all be a
"typographical error," as the disgruntled
author complained in "Once in a Lifetime."
It can't all be an illusion.

No, Garbo is a tremendous actress, by virtue
of that very power, that very "presence"
which dramatic historians will doubtless try
to explain hundreds of years from now. But
she is not the purely histrionic artist that
Hepburn is.

Acting is a slow, studied thing with Garbo.
It has given rise to stories emanating from her
sets that she was actually slow-thinking. Her
deliberation, to fast moving, high-strung
actors, seemed brought about by a cumbersome
brain.

It is known, for instance, that no matter
how slight the scene, how brief the line, Garbo
must retire to a remote section of the stage
alone and go over it all by herself. She may
take a half hour or more on the most insignifi-
cant bit of dramatics; then come back and do
several takes of the scene. Often intricate
combinations, of movements coupled with lines
will seem to defeat her completely before the
camera. In "Queen Christina" in a scene
where several documents are handed to her to
sign, she had difficulty signing them until they
were handed to her one at a time.

Now, turning to Hepburn, just the opposite
type of dramatic temperament exists. Hep-
burn, throwing herself naturally and com-
pletely uninhibited into her character, is what
Hollywood knows as a "one take" actress.
She has the gift of doing it right the first time,
and without any apparent effort.

/GEORGE CUKOR, a man who has been
^-^more responsible than the public realizes in
developing Katharine Hepburn for the screen,
discovered this fact when he made "A Bill of
Divorcement." But Cukor, a shrewd mentor
as well as Hollywood's outstanding directorial
artist, knows his actresses. Hepburn needed
handling when she first came out. And
several times, notably during the scene where
Hepburn as Sidney runs up and down a stair-
case, Cukor whispered an "okay" to the script
girl at his side after the first "take," so she
could mark it for printing, while he called for
some ten or twelve extra "takes," until the
impatient Hepburn, chasing up and down the
stairs, was tired into tractability. Even
thoroughbreds have to be "handled."

The struggle between Hepburn and Garbo
is already in its first stages, but the battle
cannot be swift, sudden and decisive in Holly-
wood. For Hollywood is not the battleground
of this particular contest. The battlefield is
the world, and only time will tell whether the
world still wants what it has always indicated
it wanted — a screen queen whose scepter is
personality, or one crowned with the sparkling
tiara of unparalleled artistry.

Tradition goes with the former — and Garbo.

But these are strange times — revolutionary
times. Traditions are being tossed to the
winds, new rulers with new banners are
toppling the age-hallowed thrones of the
world.

Perhaps Hollywood is due for a change.

If it is, then Katharine Hepburn is the one
they will mean when they shout, "The Queen
is dead — long live the Queen!"

. . . crisp, toasted wheat,
plus extra bran . . . ready to eat

PEP

TOASTED WHEAT

plu*}
EXTRA BRAN

Kellogg's PEP is made for people who get a lot of
fun out of life. For youngsters who play hard and
grow fast . . . for grown-ups who have energy to
enjoy every hour of every day.

Kellogg's PEP is popular with all active people.
A delicious combination of nourishment and flavor.
Toasted wheat and bran . . . wonderfully crisp flakes
. . . mildly laxative . . . ready to enjoy with milk or
cream. Sliced fruit or honey adds tasty variety.

PEP is delicious at any meal. Every bowlful
carries nourishment and energy-food into your body.
Eat PEP for breakfast, lunch or supper. Always fresh and crisp in the
red-and-green package. Protected by the heat-sealed waxtite bag — an
exclusive Kellogg feature.

WHAT'S IN THE

PACKAGE?

10 full ounces of
crisp, tasty nourish-
ment. Kellogg's PEP
is made of wheat.
Rich in proteins, vita-
min B and iron. Plus
enough extra bran to
be mildly laxative.

OF BATTLE CREEK

What's This Muni Mystery?

[ CONTINUED FROM PAGE 45 j

"I am hideously uncomfortable at being
pointed out, recognized, discussed. It is be-
cause I dread to disillusion the other fellow. I
want to live up to the illusion he has created,
and cannot. I cannot carry the burden of act-
ing both on and off. Acting is too serious to
me. I envy the men who can do that.

"They can, because different actors use
different methods to create a role. With some,
it comes so very easily that they can play
all night at a party, and go into their character
the next morning with no effort. But I — I
must go through contortions. Every nerve is
pointed and tense, quivering. My mind is
tormented.

" TT is the greatest strain of all when I must

-^-appear relaxed, easy. I am afraid I will not
drain every possible meaning out of every
moment I am working. My only confidence
comes from knowing exactly how the scene
should look, from a complete intimacy and
one-ness with the character — through studying
and thinking about him. The thing then is to
make the finished conception match with the
one in my mind."

Paul Muni gives the immediate impression
of great power — a mental and physical co-
ordination that is striking. Not as large as he
appears to be on the screen, his fine leonine
head, his generously sculptured nose and
strong, full mouth, together with clean, pene-
trating brown eyes, give him weight and drive.
Here, you say, is a person. Here is character.

The man is so filled with vital energy that
it's difficult to conceive of him in relaxation.
A talk with him is far from restful. He sees
too many sides of a question. He goads and
belabors and accuses himself. His sincerity
is terrifying.

He sits, holding himself down, kneading
his volatile hands into each other, probing
into his very marrow for the right word —
always finding it — delving into his restless,
churning, brilliant brain for ideas — finding
them, exhausting them, leaping to another. A
disturbing man. One not cut from the pattern
of those who know all the right answers. He
finds his own answers, Paul Muni — and then
they don't satisfy him.

I had the feeling that he would be happier
pacing the floor and hurling his arms through
the air in expressive arcs, for emphasis . . .
that he restrained himself forcibly only because
he didn't want to run the risk of being con-
sidered dramatic . . . that he was a completely
natural man, without pose, dressed in the
trappings of a civilization he merely tolerated
— with considerable impatience.

He hates clothes — they are merely another
concession to civilization. But he loves the
costumes of his characters as if they were his
children. Muni has every single article he has
worn in every role, carefully treasured in a
cedar room, especially built, and adjoining his
big rambling ranch house. In this, he is like
George Arliss. He was born in Vienna in 1897.
Born Muni Weisenfreund, he changed it to
Paul Muni for the screen. To his family and
the few persons who are privileged to know
him well, he is always "Muni."

The change in his name is the only con-
cession he has ever made to popular demand.

T_TE has several obsessions — but the greatest
■*■ "*-of these is story.

The story is all that matters, and he will not
tell the same one twice — on the screen.

"An actor must eternally guard against the
role similar to the one he has just played —
or that he has ever played. After 'Scarface'
I was offered dozens of gangster roles. Of
course I didn't take them.

"A woman came to my dressing room not

100

long ago — I don't know yet how she got in —
saying, 'Oh, Mr. Muni, you must read my
play. It was meant for you.'

"I said, 'Well, madame, what is your play
about? Perhaps I can tell whether it would be
worth using our time if you can tell me a little
about it.'

"'It's exactly like the play you are doing
now. It just fits you ! '

"I did not read her play. An actor permits
himself to be typed, and he becomes monoto-
nous to himself. What must he eventually be-
come to a public?"

Muni will not be typed, he will not be
starred, he will not be tied down to a term con-
tract. His ambition is not to make money, as
Hollywood regards money. Riches overnight.
He says if a man is willing to work twenty
years for independence, then he appreciates it
— and he can make just as much on the stage
as on the screen. A little faster, if he combines
both.

"It comes too fast on the screen — a little
while at the top, then zoom.

" I feel easier on the stage than in pictures.
When a play is bad it doesn't last; it goes to
the store-house and is forgotten. But when
a picture is bad, you can't live it down. It
haunts you. Months later, when you have
nearly forgotten it, you drive through some
little town, and there it is — blazoned on some

theater-front, to make more people suffer.

I asked him the answer to good and bad
acting.

"The answer is — if the audience likes it.
The audience sits in judgment. It is the great
Last Word. No matter what / think of a per-
formance, I am only an interpreter, and it is
up to me to reduce — or elevate — my character
into a common denominator. I must never
do an obscure thing, because the audience has
an uncanny sense of knowing exactly what
that man would do.

"In the stage play, 'Counsellor-At-Law,' one
fellow thinks Otto Kruger is better, one
thinks I am. So we are both equal. One
man's work is as good as another's, if an equal
number of estimators think so.

"T HAVE been twenty-eight years in the
-*- theater, but this business of being an actor
still tantalizes and eludes me. With all the
thought I have given it, I have not yet found
the solution. There is no formula.

"It is a life of little beginnings. A lawyer
or a doctor, reasonably successful, builds a
steady practice and moves up to an assured
place in his profession. But with every play
and every picture, an actor begins his career
all over again!

"If he has a bad story, he will appear very
awkward, no matter how good his performance.
It will brush away with one sweep all his good
work in the past.

" Every single part he plays is.like trying to
find gold in a mine. And if he allows himself
to be typed, he is soon mined away.

"I can suffer a great nerve exhaustion, read-
ing plays and stories, looking for a suitable
vehicle. Because, as I read, I unconsciously
play the part, as that is the only way it con-
veys a full meaning to me.

"So I am always working very hard, trying to
relax. My wife or some one reminds me, 'You
must relax.' And I keep putting it off, saying
sternly to myself, 'All right. I'll begin relaxing
tomorrow.' The way women are always going
on a diet.

"Then I make one magnificent resolution
to banish all my worries. They are not im-
portant, I say. Let some one else decide on
the story. Let some one else worry about the
picture, the play. ... It must be the law of
averages that catches up with me. Some one
has to do the worrying, highly intensified, to
take the place of all the other persons who
blithely refuse to worry. The someone seems
to be me.

"You can begin to see why I will never be a
success as a play-boy. Why I feel so hope-
lessly artificial a pretender at social gatherings.

"Oh, if there were some sort of club,
where one could go to hear fine, spirited con-
versations and debates — and take part in
them — I would like that. A place where every
man was only as good as his ideas. I would
talk my head off. They would have to throw
me out! But immediately I am faced with the
monstrous ordeal of small talk — of futilities —
I am terrified."

Rudy and Windy arrive in town for
work. The crooning Vallee is to sing
his sweet melodies in George White's
"Scandals," while Windy looks on
critically

UNI stopped short, and seemed to search
through his mind, looking at all sides of
the subject. . . . Then he burst out:

"But all the time, it is possible that what I
am doing is acting! I am willing to accept
the challenge. I am evading issues that are
supposed to be part of the interchange in the
life of a normally social man.

"God knows, I wouldn't like anyone _ to
think I am satisfied and smugly happy with
myself. I am honestly bewildered. Never
do I feel completely sure of myself except
when I am some other man. As long as I
find it impossible to play in the other fellow's

Photoplay Magazine i-or March, 1934

IOI

back-yard, I stay in my own. In that way
I am not abused, or abusing. It is really in-
spired by my sense of obligation towards
others — only that sounds confused, I know.

"Every man has his own way of arriving at
a goal. If I had to play politics or go about
it in any but a direct way — my way — I
wouldn't get to first base."

Ayf UXI lives a very close-knit family life.
-**-*-His wife, a small, attractive, vivid, little
woman, is his constant companion. She was
Bella Finkle, a well-known dramatic actress
in the Jewish theater. She sits, silent and
apart, on the set during all her husband's
scenes. He consults her anxiously about
everything he does, every bit of wardrobe,
every line.

"And why not?" asks Muni, surprised that
it has ever been regarded as unique. "I have
complete faith in her knowledge of the theater.
And who in all the world is more entitled to
tell me what's wrong, or who is more con-
scientiously interested in what is right in my
performances?

" I solicit her advice. I must have someone
on whom I can depend to tell me the absolute
truth — about how I looked as I played the
scene, and how it felt to her. Her response
is so right and so accurate. I cannot bear to
look at the day's rushes. It is too discon-
certing.

"I would want to do it all over again. But
Mrs. Muni has the less intensely personal, the
broader view, where I could find the most
infinitesimal faults.

"I have made only six pictures in six years.
That is comparatively no experience. I need
an honest critic."

Muni rehearses his lines into a dictaphone
and then reads them back. He has a horror
of his still pictures being retouched. He
doesn't want to be "prettified." He has an
ardor for sincerity and a capacity for taking
pains down to the smallest detail, that can,
scarcely be matched among actors.

After a picture is finished, he invariably is
ill with nerve exhaustion and in bed for several
days.

Then he and Mrs. Muni are likely to pick
up and cruise off any place.

Muni says his work is done by impulse
and instinct "with no strategic diagrams," and
their vacations happen the same way. They
never know where they are going — but al-
ways arrive some place.

They bought their rambling, lovely ranch
out in Van Xuys, a few miles from Hollywood,
the same day they first saw it. And another
nearby, where Muni's mother and brother
live. When absent from home they keep the
house going for the two dogs, an airedale and
a setter.

"K^UNI believes that a man should have as
-'■^-'-much quiet as he wants when he needs
it, and that it is wiser to five for oneself and
one's nearest and dearest.

He does not smoke and drinks only wine.
He has an automatic iron-fast gate at the en-
trance to his ranch which takes an act of
congress to get by.

His favorite dish is cottage cheese (schmer-
kase) with fresh chopped vegetables mixed in
it.

He is passionately fond of music. Most of
his public excursions are made to concerts or
the opera. His brother is a concert violinist.

He says, humbly, that he feels he has been
tolerated more than he deserves — but adds
that he has endeavored to give sincere per-
formances.

He adds then, with a tragic note of apology
that he knows himself to bevery poor "copy,"
and sympathizes with the writers who have to
struggle to get a story out of the material he
can give them.

I leave you to be the judge of whether Paul
Muni deserves the descriptive " Garbo Man,"
adding the statement that Muni is the most
fascinating complex, interesting and provoc-
ative actor I have ever met.

Is your hair TOO DRY or TOO OILY

to train in these

New Hollywood Styles?

Here is the coronet coiffure introduced to
America by a glamorous screen star. A loose
twist of hair crowns the head, its ends lost in
curls over the ears. The charm of its skein-silk
contour would be destroyed by fly-away ends
of dry, harsh hair. To help dry hair, use the
Packer's Olive Oil Shampoo treatment below.

Help for DRY hair:

Don't put up with harsh, dry, life-
less, burnt-out looking hair. And
don't — oh, don't — use a soap on
your hair which contains free alkali
. . . Packer's Olive Oil Shampoo is
made especially for dry hair. It is a
gentle "emollient" shampoo made
of pure olive oil. In addition, it
contains soothing, softening glyc-
erine which helps to make your
hair silkier and more manageable.

No free alkali ... no acidity in
Packer Shampoos. Both are made
by the Packer Company, makers
of Packer's Tar Soap. Get Packer's
Olive Oil Shampoo today and be-
gin to make each cleansing a
scientific home treatment
for your hair.

Another Hollywood star parts her hair an inch

I to the right above a long bang and draws wide,
soft waves like a satin cap into the neck-line.
I The revealing simplicity of this style should
not be attempted with oily, stringy hair.
Packer's Pine Tar Shampoo treatment (given
below) helps to correct too-oily hair.

To correct OILY hair:

If your hair is too oily, the oil glands
in your scalp are over-active. Use
Packer's Pine Tar Shampoo— it is
made especially for oily hair. This
shampoo is gently astringent. It
tends to tighten up and so to nor-
malize the relaxed oil glands.

I It's quick, easy and can be used
with absolute safety to your hair.
Use Packer's Pine Tar Shampoo
every four or five days at first if
necessary, until your hair begins to
show a natural softness and fluffi-
ness. Begin this evening with
Packer's Pine Tar Shampoo to get
your hair in lovely condition. Its
makers have been specialists
in the care of the hair for
% over 60 years.

PACKER'S h

OLIVE OIL SHAMPOO

for DRY hair

PACKERS

PINE TAR SHAMPOO

for OILY hair

102

Photoplay Magazine for March, 1934

DIFFERENCE!

What a truly amazing difference
Maybelline DOES make

Do you carefully powder and
rouge, and then allow scraggly brows
and pale, scanty lashes to mar what
should be your most expressive fea-
ture, your eyes? You would be amazed
at the added loveliness that could be
so easily yours with Maybelline.
Simply darken your lashes into long-
appearing, luxuriant fringe with the
famous Maybelline Eyelash Dark-
ener, and see how your eyes instantly
appear larger and more expressive.
This smooth, easily applied mascara is
absolutely harmless, non-smarting,
tear-proof, and keeps the lashes soft
and silky. You'll be delighted with the
results. Yes, thrilled! Black for bru-
nettes, Brown for blondes. 75c at any
toilet goods counter.

EYELASH DARKENER

The

perfect {JL^ . sSrf Mascara

The Shadow Stage

The National Guide to Motion Pictures

(REG. U. S. PAT. OFF.)

[ CONTINUED FROM PAGE 59

LET'S FALL IN LOVE— Columbia

T_TOLLYWOOD from the inside. Ann
■*• -*-Sothern, newcomer, plays a fake Swedish
film discovery of Director Edmund Lowe,
palmed off on Producer Gregory Ratoff.
Discovery of the hoax is brought about by the
director's jealous girl friend, Miriam Jordan.
Musical theme, "Let's Fall in Love," is
catchy. Lowe good. Ratoff highlights this
one.

MADAME SPY— Universal

•"THE plot of this spy story is quite the same
*■ as many we have witnessed in the past.
However, that does not matter a great deal,
for the production is skilfully handled. Allur-
ing Russian spy Fay Wray marries Austrian
officer Nils Asther. Betrayed by his wife, Nils
in turn becomes a spy and is aided in his es-
cape by Fay, who discovers that she really
loves him. Vince Barnett, John Miljan and
Edward Arnold.

THE SEARCH FOR BEAUTY—
Paramount

•"THIS picture was the result of Paramount's
*■ world-wide search for beauty, presenting
thirty contest winners whose appearance is
but a fleeting flash. James Gleason and Robert
Armstrong click as two racketeers conduct-
ing a phoney health school and magazine. Ida
Lupino and Buster Crabbe, playing the parts
of beauty contest winners, thwart their plan.
Interesting, with lots of laughs.

MASSACRE-^First National

TNDIAN propaganda laid on thick. Richard
-Miarthelmess, an educated Indian, is a
crack shot and becomes a World's Fair attrac-
tion. He goes debutante crazy. Learning his
father is dying due to neglect, he returns to the
reservation and cleans up on a crooked govern-
ment agent, with the aid of Ann Dvorak.
Barthelmess is up for murder, but a native
uprising frees him.

FOG— Columbia

A SEA-GOING mystery thriller with an
■* *■ ocean liner, passengers, crew and audience
all lost in fog which envelopes one, two, three
murders. Robert McWade, as an irascible
millionaire is strangled, whereupon the
slayer kills ship's doctor and a clairvoyant lady
who threatens to unravel the mystery with her
crystal ball. Donald Cook is good as a psy-
choanalytic detective and is half of Mary
Brian's romance, with Reginald Denny the
other half.

THE MEANEST GAL IN TOWN—
RKO-Radio

A BATCH of good troupers make this a
■**■ bright little comedy. El Brendel is a
barber who won't marry ZaSu Pitts until he
gets a second chair in his shop. "Skeets"
Gallagher is a fast-talking salesman who feuds
with Jimmy Gleason over Pert Kelton, a
stranded show-girl acting as manicurist in the
barber shop.

SONS OF THE DESERT—
Hal Roach-M-G-M

•"TROUBLE, turmoil, fun and laughter.
-^ Laurel and Hardy, henpecked and down-
trodden, take an oath to attend a lodge con-
vention and their ridiculous maneuvers in

getting away from their wives will have you
in stitches, and have the boys constantly in
hot water. Mae Busch makes a grand plate-
throwing comeback as Hardy's wife. Charley
Chase, Dorothy Christy, Lucien Littlefield
complete the cast.

I LIKE IT THAT WAY— Universal

"V"OU very possibly will like Roger Pryor
*• ("Moonlight and Pretzels") that way, but
you'll find the story pretty familiar. Roger, a
go-getter salesman, plays the show cuties but
makes sister Marian Marsh walk the chalk
line. When Marian unmasks his good girl
fiancee, Gloria Stuart, as an entertainer at a
gambling club, it looks like a ruined romance —
but Roger comes through with somewhat
drooping colors. Fair.

EIGHT GIRLS IN A BOAT— Paramount

■"THIS rather odd film does not have much
■*■ story value or movie formula. It lags con-
siderably. But the story of Dorothy Wilson,
a student at a Swiss academy, who is to have
a baby, is set forth in such a straight-forward
manner that one cannot help being taken in by
it to a certain extent. Douglass Montgomery,
Kay Johnson, Walter Connolly. Excellent
photography.

TWO ALONE— RKO-Radio

""THIS film, formerly titled "Wild Birds,"
■*■ offers little in the way of entertainment.
It's a dull tale of unredeeming villainy and
pure virtue. Jean Parker, as the orphan
bound to the cruel farmer (Arthur Byron), is
lovely and convincing in her naive simplicity.
Tom Brown, as a runaway boy from a re-
formatory, does well. ZaSu Pitts and Nydia
Westman.

ORIENT EXPRESS— Fox

A NOTHER Continental Express zooms
■* ^-across the screen with its various passen-
gers whose lives become entangled in one
great drama. Norman Foster, a young busi-
ness man, falls in love with a dancer, Heather
Angel, and comes to her rescue after the plot
thickens with political intrigue. Ralph Mor-
gan is splendid as a politician. Roy D'Arcy,
the villain, Herbert Mundin and Una O'Connor,
comics, and Dorothy Burgess are among the
passengers. Fair.

DAWN TO DAWN—
Cameron Macpherson Prod.

T\ 7TTH the exception of a few interior views
** of an old farm house, this film was photo-
graphed entirely on the plains. The camera
angles are unusually effective. The characters
— Julie Haydon, Frank Eklof and Ole M.
Ness — do little talking, but the dramatic ex-
pression is so nigh perfect that one does not
miss the dialogue. A rather too short and
highly imaginative picture.

WHEELS OF DESTINY— Universal

ANOTHER trek to California, this time,
with Ken Maynard featuring a gold rush,
bandits raiding the town, buffalo stampedes,
Indian fights, prairie fires and rainstorms, to
say nothing of Tarzan the horse, and a racing,
jumping longhorn steer. Plenty of action.
Children will like it, but it's pretty slim adult
entertainment.

Photoplay Magazine for March, 1934

MAN OF TWO WORLDS— RKO-Radio

PRANCIS LEDERER clicks as an actor,
*- even if the story of a mighty Eskimo hunter
who tinds the white man's race barrier too
high to hurdle is dull. Tremendously popu-
lar on the New York stage, Lederer got a bad
break on story material for this, his first Ameri-
can film. But his performance is well worth
seeing. Elissa Landi, J. Farrell MacDonald.
Henry Stephenson. Good photography

THE SIN OF NORA MORAN—
Majestic Pictures

1 I 'HIS is a grief -laden story of a girl who goes
■*■ to the electric chair for the man she loves.
The tragic story of her life is told by flashbacks
into her past immediately after her electrocu-
tion for a crime she did not commit. The story
is depressing and confusing. Zita Johann is in
the title role, and Alan Dinehart is the district
attorney and narrator. Paul Cavanagh, John
Miljan.

THE LAST ROUND-UP— Paramount

"Xyf ONTE BLUE as a cattle stealing, stage
* *-*-coach robber, assisted by Fred Kohler and
Fuzzy Knight. Monte ends his rather hectic
career in a colorful manner. Randolph Scott
can't make up his mind whether to be hero or
outlaw, while Barbara Fritchie is a bit hard-
boiled for the heroine. Fine direction; good
suspense.

THE CHARMING DECEIVER—
Majestic Pictures

("CONSTANCE CUMMINGS very beauteous
^-*in a light romance of a London mannequin
who impersonates a famous movie star and
finds her true love in Deauville. The true
love, too, does a bit of mistaken identity stuff,
because that's the kind of story it is; not too
logical, but acceptable entertainment. Frank
Lawton is the 'andsome 'ero.

CRIMINAL AT LARGE—
Helber Pictures

"ENGLAND once more gives us an exciting
-'—'mystery drama made from Edgar Wallace's
novel. If you are an addict to creaky old
houses and strange murders, you will thrill to
this convincing story of the Lebanon family.
Lady Lebanon, last of a long line of blue bloods,
chooses a healthy girl as her son's future wife.
The girl is invited to live at the family castle
where she learns startling things about the
family skeletons.

A WOMAN'S MAN— Monogram

\A ARGUERITE DE LA MOTTE'S come-
■lvJ-back film is just that for the blonde
actress whose long vacation has improved her
acting. All about an empty-headed movie
star who messes up prize-fighter Wallace
Ford's career with her philanderings but makes
it right after the big fight. John Halliday as
the director is perfect, and you'll like Kitty
Kelly's humor. Enjoyable.

SAGEBRUSH TRAIL— Monogram

TF you like Westerns, you'll get a few thrills
-••out of this picture with its bad hombres,
rough riding and sagebrush intrigues. John
Wayne is the hero who finally marries the
storekeeper's daughter after tipping them off
to a robbery by the outlaw gang he so un-
wittingly is forced to join. Excellent shots of
the wide-open spaces.

IO3

I'D SKATE TO
THE SOUTH POLE
FOR A

MENTHOLATED CIGARETTE- CORK-TIPPED

They're easier on your throat —
the smoke actually ia several de-
grees cooler. But why talk scien-
tifically when the main thing about
KOOLS is the downright pleasure
you get smoking them? They're
definitely refreshing. The choicest
Turkish and Domestic tobaccos,
neatly blended and then mildly
mentholated by a process that
fully preserves the flavor of the
tobaccos. Cork tips are lip-savers.
Save the valuable B 8c W coupons
packed with KOOLS for Congress
Quality gilt-edged U. S. Playing
Cards and other attractive premi-
ums. (Offer good in U. S. A. only.)

PLAYING CARDS — FREE

Brown & Williamson Tobacco Corp.
Louisville, Ky.

CORK-TIPPED...! 59 fir TWENTY

104

Photoplay Magazine for March, 1934

KADETTEN (Cadets)—
Reichsligafilm Prod.

•"THIS story of "Boys in Uniform" is much
-*- the same in theme as "Maedchen." The
boy (Franz Fiedler) is at a military academy
against his will. His every free minute is spent
composing songs which he dedicates to his
young stepmother (Trude vonMolo). German
dialogue, with English captions.

POPPIN' THE CORK— Fox-Educational

A SHORT, short musical comedy featuring
•* *-Milton Berle, and having the "repeal"
angle. There are two good song numbers,

MEN ARE SUCH
FINICKY CREATURES"

We women must be practical, yet
feminine — for our men. We've work
to do — but we must keep dainty. Our
hands must run a household — and
still be worthy of kissing. All right,
gentlemen — we're here to please!

WHEN we use Frost ilia
Lotion to care for our hands, no man
can ever tell what they've been up to!
We keep the children and the house
clean, we do the cooking . . . then we
pat in just a few drops of this fa-
mous, inexpensive skin - protector
and let its ingredients do their work.

That's how we can please
our men with white, smooth hands —
hands so velvety they look as though
they've done nothing all day except
wait for him — hands deliciously
sweet and fragrant with Frostilla's
imported perfume. They adore that!

3 sizes at drug and dept. stores in U. S. &

Canada — ICi size at better 5-&-lCi stores.

(Sales Reps.. H. I". Ritchie & Co., Inc., N. Y. C.)

"Here's Looking at You" and "Poppin' the
Cork."

MARRIAGE ON APPROVAL—
Freuler Film

A SMALL town minister's daughter
■* »-(Barbara Kent) is married to the boy she
loves (Donald Dillaway) during an all night
party. But she doesn't know it because she
has been drinking. Her young husband, by
some strange reasoning, decides to keep the
marriage a secret although they live together.
And, after many complications, all is straight-
ened out as it might have been so easily in
the beginning.

Secrets of the Fitting Room

CONTINUED FROM PAGE 35

From Monday to Wednesday they tried it
chin length. From Wednesday to Friday, to the
lips. From Friday to Monday, to the nose
tip. Next week, back to the lips. Then, up
to the nose. Just below the eyes. Three-
fourths of an inch above the nose tip. And on
and on it went. For days. Weeks. Finally
it was ready. And the result was worth the
effort. A manufactured glamour that knocked
the customers out of their respective seats.

Naturally, there's Tashman. With her
keen, intelligent clothes sense. And the more
they know about clothes, Banton asserts, the
less fuss they make.

"DUT, about Tashman. Tt seems that several
-'-'years ago Banton was called over to the
United Artists studios to design some gowns
for Lil Tashman to wear in a picture.

Everything had been long waistlines and Lil
was all set for several long-waisted knockouts.

"Wait," Banton said, "there's a definite
new trend in the air. The normal waistline
is due. You mark my words. Let's give it to
them right here and now."

Naturally Lilyan was anxious to be a bit
ahead of the game, but at the same time she
was skeptical. After all, a Lil Tashman can't
afford to make any mistakes in clothes.

"All right," she finally agreed, "but, so help
me, Travis Banton, if you've guessed wrong
I'll kill you with my own two hands."

So the dresses were made with the startling
new waistline. Three months later the picture
was released just as the "normal waistline
news" hit America from Paris with a bang.
Of course, Lil's gowns were the very last word.
A sensation, no less.

Sometimes, the hardest task of all falls to
the studio designer. On his shoulders rests
the tragedy of breaking a heart.

For instance, at the last minute, the studio
may decide to switch players. One star may
be taken from a picture and another substi-
tuted. No one has the nerve to tell her. The
executive passes the buck to the director. The
director to the designer. And it isn't until the
star, bubbling with excitement and happi-
ness, barges into the fitting room and sees her
clothes on another, that she knows.

Those are black, horrible moments in the
fitting rooms. Yes, if only those walls could
talk. The stories they could tell. Especially
those fitting room walls at M-G-M.

Mon Dial, what they know!

For instance, there's Garbo's fitting room
behavior. Carefully she scrutinizes all of
Adrian's sketches. Laying down this one with
a mere "Ya" or that one with a "Very nice."
But let some crazy, eccentric little bit of busi-
ness creep in and, well — it simply throws
Greta into hysterics.

She'll shriek with laughter. Howl, in fact.
" I loff it," she laughs and wipes away the tears.
The pill-box hat in "As You Desire Me"
nearly finished her. Never does Greta balk

at the most trying style, if only it's violently
insane. Otherwise, she isn't interested.

Norma Shearer is the patient Griselda of the
M-G-M lot. She'll have it right if it kills her.
As a matter of fact, it nearly kills everyone
but Norma.

She'll peer at every stitch in every seam.
Intently. Then decide the sleeves should be
taken out. And put back in. And then out.
And then in. And — well, as often as fifteen
times Adrian has ripped out a sleeve. And
fifteen times little fitters have sewed it back.
With Norma chattering busily and happily
between sleeve-ripping-outs and sewing-ins.

Then, the sleeve pronounced okay, Norma
suddenly decides the color isn't right for the
mood. Green? That would be fun. Yes sir,
that's what it should be. Green. So the dye
vats are set to boiling, the dyer holds the dress
ready to drop it in when — stop. Norma de-
cides white is best after all. Maybe. Or do
they think the green after all —

Well, anyway, three weeks later Norma
appears in the dress. Which, strangely
enough, turns out to be a watermelon pink.
Only Norma wishes she had finally decided on
blue. Or maybe, the green would —

Joan Crawford it is, who is entirely interest-
ed in everything about clothes. Only, Joan
can't make head or tail of any sketch unless it's
colored in blue. Blue is the one and only
color Joan understands. No matter if the dress
is to be finished in bright yellow, the sketches
must be blue. Or Joan won't know the top
from the bottom.

The dress on, Joan goes into those acrobatic
antics of hers. Her arms swing high, wide,
around, up, usually landing a punch on some-
one's nose before it's over. But if the dress
is the least bit binding under the arm, off it
comes.

Joan must have freedom around her arms.

Then the weight business begins, with
Adrian moaning and wailing. Every hem
must be loaded with weights.

"Joan," Adrian will argue, "so many
weights at the bottom are unnecessary. The
dress will sag."

A ND how she walks in it, no one knows.
■**-Her every dress weighs at least 30 pounds.

But it's Marie Dressier who throws the
yellow and white dressing-room of Adrian's
into a gorgeous bedlam.

"What's this thing?" Marie will demand.
"Oh, it's a pleat. Thought it was a strange
interlude.

"Adrian," she'll call, "what's this funny
business sticking out of the neck? You sure
you didn't sew Jimmy Durante up in this
thing? Looks like Jimmy's nose to me."

And the fitters roll. And the tailors scream.
And Adrian howls. And it's fun. And it's
laughter. And sometimes, when Marie's old
ache comes back, it's sorrow.

All, all in the fitting rooms of Hollywood.

Photoplay Magazine for March, 1934

[ CONTINUED FROM PAGE 53 ]

The payoff came, however, when the song
writing populace discovered that all in the
world one had to do was pick up a current title
of a movie, book or play, wrap it up in a few
words that had nothing to do with the book
or play, drag in a slightly used tune and there
you were.. The fact that the song need have
nothing to do with the subject matter of the
movie, made it just too hunky-dory for every-
one. And saved a lot of reading and movie
going.

For example, the book and movie entitled,
" I Cover the Waterfront," dealt with a
reporter whose duty it was to write up the
doings of the waterfront.

But did the song called "I Cover the Water-
front" have anything to do with a reporter on
the old waterfront? It did not. It was all
about somebody, a stranger to me, I assure you,
waiting for a lover to come back from some-
where and get friendly. Too friendly, if you
ask me.

Take the book and play, "A Farewell to
Arms," which meant a farewell to arms of war.
Guns, bayonets, or whatever it is they monkey
doodle around with. And the song, "A Fare-
well to Arms." Did it have one single solitary
thing in common with the book and movie,
except the title? It did not. It was all about
someone (who are these people, anyway?)
saying goodbye to a lady's upper limbs that
weren't going to caress him anymore and let
that be a lesson to him.

Take "Dinner at Eight," that all star
picture that knocked us cold. And then take
the song, "Dinner at Eight," that had nothing
in common with the movie except once again
the title, and it was all about a fellow who laid
a couple of gardenias at his girl's plate and
warned her to tell her mother she'd be good
and late. Well — late, anyway.

And when Hollywood got hep to that gag,
well, song writing became as easy as the
proverbial "log rolling off of."

"pOR instance, a new picture no more than
-1- started production than a dozen new songs
began flooding a town that was already
drowned. There was Will Rogers' new pic-
ture, "David Harum." All over the place
songs sprang up about

" David Harum, you harem scarem.

"I'll bet you dare 'em

"In your harem

"You rascal, David Harum."

Can you picture, by the wildest stretch of
imagination, Will Rogers daring anyone in a
harem? I mean, for heaven's sake! Where
would he park his gum?

Before Ronald Colman could as much as get
himself on a boat bound for Hollywood to
make "Bulldog Drummond Strikes Back,"
the frienzied mob was at it. "Bulldog Drum-
mond Strikes Back, You are my own, With
arms of love, you strike back. My very own."
That was one little ditty that ought to please
little Ronny out of a year's growth.

"Anthony Adverse," bought by Warners,
was a bit more of a problem. But don't think
they were stumped for long. For out comes
one enterprising young writer with "Anthony
Adverse, you could be worse. But I am nerts.
For my Tony Adverse."

Some wax very tragic and lovely. For
instance, "Death In The Afternoon," which
deals exclusively with bulls and bull fighters,
came out

"Death in the Afternoon, I adore you.

" Death in the Evening, I abhor you.

"Death in the Morning, how you bore me.

"But death in the Afternoon, a hot cha cha,
and a hey nonny nonny."

4 RULES lo% keevi

aatwteiiLA- ^kaweut

1. Wash often. Perspiration will ruin
them if you don't!

2. Use pure, mild soap. "Ivory Snow
is ideal," says Kathryn Martin, Washa-
bility Expert. Ivory Snow is made from
pure Ivory Soap. You can use Ivory
Snow as often as you like, and you can use
enough of it to make thick suds, because
it contains nothing strong or harsh to fade
colors, shrink satin, or dry out elastic.

3. Rich suds, lukewarm, not hot! Re-
member, heat spoils elastic! You do not
need heat to take out oily dirt when you
have Ivory Snow's rich, fluffy suds. And
you don't need hot water to make suds with
Ivory Snow. Ivory Snow is fluffy . . . melts
quick as a wink in safe LUKEWARM
water. Don't squeeze or twist garment.
Slosh it gently up and down in the suds,

For 15 1 at your grocer 3 you can get a package
of Ivory Snow that is as large as the 25£ size of
other soaps for fine fabrics. Enough pure, safe,
quick-dissolving Ivory Snow to wash your silk
stockings and lingerie every day for more than
a month. Economical to use for dishes, too . .
keeps your hands in the Social Register!

or, if heavy, scrub it with a soft brush.
4. Gentle, lukewarm rinse — don't
wring. Ivory Snow suds are easy to rinse.
No flat pieces in Ivory Snow to paste
down on your garment and make soap
spots! Roll foundation in a towel to blot
up excess water; then shake out and dry
in a place removed from direct heat. Be-
fore entirely dry, work it in your hands a
bit to limber and soften it.

99 44/ioo% PURE

1 instate

FLUFFY- INSTANT DISSOLVING IN LUKEWARM WATER

io6

Photoplay Magazine for March, 1934

"**

WOO

HEN you visit New York
enjoy the comforts of an ideal
home and still be in the heart of
the Motion Picture Art Centre.

Parlor with Bedroom and Bath

$C00 PER DAy FOR
D — ONE OR TWO

$125.00 per month

Largest SineV

Room In $3 CQ

New York ",,J

PER DAY

for this Beautiful 2-Room Suite.
3-Room Suites in proportion.

All rooms equipped with combi-
nation tub and shower bath and
running ice water. Ideal loca-
tion— adjacent to shopping, busi-
ness and theatre districts.

Swimming Pool and Gymnasium
FREE to Guests.

Write for details. Telegraph reservations
(Collect)

ENJOY NEW YORK'S

COCOANUT GROVE
AND TIC TOC CLUB

56th St. at 7th Ave.
New York City

Of course, Paramount's "Baby in the Ice-
box" was a cinch. "Just get yourself an oven
for I need a bit of lovin' " was the general
trend of that particular little sketch.

And oh, my sainted aunt, what they did to
"Little Man, What Now." I mean, the things
they suggested Little Man do next would have
curled Aunt Lizzie's bangs. Whewie!

But the whole mad, insane climax was
reached when some bright lad suggested a
theme song for each studio. Exactly like a
college song. And not only suggested it but
set out to write it.

"It will give spirit and pep to the whole
studio," he argued, and actually seemed honest
enough in his belief.

He began with Metro-Goldwyn-Mayer. He
wanted to bring in the studio's esteemed
leader, Louie B. Mayer. First he tried the
old one

"How doth the little Louie B.

"Improve each shining hour?"
It was too slow. Lacked snap and pep.

Then he bethought himself of Leo, the

M- G-M lion. And wrote
" Leo, Leo, let your roar
" Come to the very fore
"For all our famous sons and daughters
"Of old M-G-M, our Alma Maters."
He wasn't content, like most people, with

one alma mater, you notice. He had to have,

he felt, one for Metro, one for Goldwyn, and

one for Mayer.

XTOTHING daunted with the ghastly result,
-L^lie moved on out to Universal and waxed
too. too grand for words. He wrote

"Universal, Universal

" Strong and mighty do we stand.

"Like our brave and stalwart leader —

And just then Junior Laemmle, five foot,
one and a cold in his head, stepped to the front
and somehow the whole matter was quietly
dropped.

But the song rage goes just as feverishly,
just as frantically on and on and on.

The Fan Club Corner

GERTRUDE B. PERKEL, president of
the Official Joan Crawford Club, had
the honor recently of having lunch with
Miss Crawford and Franchot Tone, during
Miss Crawford's stay in New York City.
Miss Perkel has advised the Photoplay
Association of Movie Fan Clubs that an entire
detailed outline of the occasion will be found
in a future edition of "The Crawford Chatter,"
the club's publication.

There was a surprise for members of the
James Fidler Fan Club, when they received
the club's paper, "The Fiddle Plays." With
the paper came an 8x10 photograph of Jimmie
and his season's greeting to members.

The Joan Crawford Fan Club, of which
Miss Marian L. Dommer is president, is
celebrating its second anniversary and has
issued a special "Crawford News" in honor
of the occasion.

"It seems just as if last month we sent out
the first issue of the 'Crawford News,'" Miss
Dommer wrote the Photoplay Association.
"It was just a three page affair." Since then,
Miss Dommer said, the mimeograph which
Miss Crawford gave the club has made it
possible to issue a much larger and a more
interesting paper.

Miss Dommer wrote that she enjoyed lunch
with Miss Crawford in New York City.

One of the newer members of the Photoplay
Association of Movie Fan Clubs, the Silver
Star Club, of which Miss Phyllis Carlyle is
president, states that the club was founded in
honor of Franchot Tone. Among the honor-
aries are Joan Crawford, Jean Harlow, James
Cagney and Onslow Stevens.

A notice from the Tri C Club, of Syracuse,
N. Y., mentioned the fact that the largest
event of the year, a big jamboree, will be held
very shortly.

ANEW move in club work is being under-
taken by the Official Joan Crawford Fan
Club, writes Miss Perkel. It will be operated
under a "department system." The mem-
bers have already been selected to care for
these departments. They will compile a
publication of their own to tell members of
their activities in each department. The
system will deal with interests that the
members indulge in outside of fan clubs and
movies.

Another issue of "Joel's Joelers" from Miss
Helen Moltz, president of the Joel McCrea
Fan Club, has been received at the Photoplay
Association offices, 919 N. Michigan Avenue,
Chicago. In it members will find a detailed
account of Miss Moltz's recent visit to Holly-
wood and her meeting with Mr. McCrea.

The Bodil Rosing Club sent through a fine
issue of "Bodil and Her Fans" with neatly

drawn sketches pertaining to the Holiday
season. Chaw Mank, Jr., is listed as a vice-
president of the club and plans call for a
space contribution from Chaw as often as he
can find time to write.

John Boles is now a Kentucky Colonel,
states the John Boles News, issued by Lillian
Musgrave, president of the club. The January
issue was chock full of news.

T— FERE'S a new one for the Association — the
■*- J-Alice White Fan Club, of which Lucile
Carlson is president. With the application
came a fine issue of the club's paper. Some of
the contributors are active members of other
clubs. There were a number of holiday
greetings reprinted from the various stars who
are honorary members of the club.

"The Crawford Chatter," publication of the
Official Joan Crawford Fan Club, is conducting
a contest for the members' interest. The topic
is, "Why I think Joan Crawford is interesting."
Prizes will be given to the first three winners
by Miss Crawford, personally.

The Screen Guild, James J. Earie, president,
announced in the "Lode Star," publication of
the club, that a number of changes were soon
to be made in the Guild. Mr. Earie stated
that the club would be re-named to honor
Eric Linden.

"Among the Stars," publication of the
Screen Fans' Club, issued by Al Kirk, presi-
dent, contains some very interesting comments
on new films. Mr. Kirk has rated them and
carries a rather extensive review in the paper.

Fans writing to Dick Powell, according to
Chaw Mank, Jr., are assured that Mr. Powell
reads and personally answers (with the help
of a secretary) all of his mail.

A LETTER from Miss Ethel Musgrove,
secretary of the Ramon Novarro Service
League, stated that the League was organized
as a philanthropic organization and that it
had been officially recognized by the Metro-
Goldwyn-Mayer publicity department. The
League has been carrying on a worthy work
this season collecting clothing to be distributed
among the destitute. They also sent many
Christmas dinners to needy families.

"The Jordan Journal," issued by Carl E.
Lefler, president of the Dorothy Jordan Fan
Club, was another of the interesting bulletins
received during the past month. Mr. Lefler
deserves much credit for the arrangement of
his newsy little publication.

From Miss Lilian Conrad, president of the
Ruth Roland Club, we learn that Miss Roland
presented the club with some of her clothes
for an auction, the proceeds of which are to go
into the club's treasury for carrying on their
work.

Photoplay Magazine for March, 1934

107

Little Girl, Don't Cry!

[ CONTINUED FROM PAGE 37 ]

courageous, little soul she is, growing rapidly
into womanhood. And we say, what now?

The first thing that ever drew any attention
to this little Carlisle person was that giggling
bit she did in "Grand Hotel." Mary, you
remember, was the little giggling bride who
entered just as the poor dead baron was
carried out.

And right well she did, too. But better than
Mary's bit is her own encounter with Garbo.

"I was standing there on the set just like
this," Mary says, "and someone said, 'Come
on, I want you to meet Garbo.' My knees
(giggle) knocked together so much I could
hardly (giggle) walk, and Garbo looked me up
and down and said, 'So, you are the little
bride, eh?' (giggle) I nearly died (titter), I
tell you. Well, anyway, she told me, Garbo
did, the costume I had on wasn't pretty, and
told me to go to Adrian (giggle) and to tell him
that she (giggle) Garbo had said I was to have
a whole new outfit to wear (business of dying
in her handkerchief). And I did, and Mr.
Adrian, or is it just Adrian (double hysterics
with whipped cream and chopped nuts), made
me the cutest, darlingest little pink suede
costume with pink suede hat to match, and I
went back to Garbo (giggle, giggle) and she
looked at me in the front and in the (giggle)
back and said, 'Now dot is sometheen like.'"
(Complete spontaneous combustion.)

TO add a good-sized backache to the head-
ache of Mary's looking like a doll when she's
too old and much too ambitious, is the fact
that the girlish plumpness of Mary's is almost
certain never to be conquered. It's like
Longfellow's turnip that grew behind the
barn, and it grew and it grew and it grew.
For behind Alary are several generations of
very large women. And the fight Mary has to
wage constantly is too utterly heart-breaking.
It's as natural for Mary to grow plump as it
is for Joan Crawford to sprout freckles. Both
can be taken care of for a time, but eventually

The last picture taken of Kay Francis
and hubby Kenneth MacKenna be-
fore Kay cried "quits," to marital
life. Who'd have thought that this
happy couple would go that way?

In ihe f yA^ayz^m^^^^AAyoix^

smart women are finding ihe

new secrei of VITALITY

Light, easy steps, foot-sure smartness
and a new sense of exhilaration are
yours when you wear Vitality Health
Shoes. For these authentically styled
quality shoes admit you to the charm-
ed circle of Smartness, Fit, Economy
and Vitality the minute you put them

on your feet. Cleverly combining
smart style with perfect fit and
foot-freedom, they are the ready
choice among discerning women
the country over. Why not discover
them for yourself? Their prices
certainly invite your attention.

VITALITY SHOE CO.' ST. LOUIS Division of International Shoe Co.

• There are also Vitality Health Shoes for every age of childhood and for young people in their teens. They offer a
new standard of value in youthful styles, all-leather features and lasting wear. Priced $2 to $} according to size.

V I T ALJ T Xj _.

^-^_ health sfwes ->^ 3K

SIZES

T O

1 1

WIDTHS

A A A A

T O

E E E

io8

Photoplay Magazine for March, 1934

there they are. Back at the same old stand,
doing a brisker business than ever.

Mary's dieting is the scream of the studio.
"I'm on a diet, everybody," Mary will inform
the entire studio commissary. "Nothing but
grapefruit juice for me." And then Mary will
stop to speak to a friend, and in some way his
creamed chicken on toast will manage to get
about two-thirds of itself into little Mary, and
someone else's cake or pie will go the way of
all flesh, and then Mar)' will say goodbye and
it's no use for any of them to insist upon her
eating one bite for she's on a strictly grape-
fruit juice diet.

She gains half a pound that day and can't,
for the life of her, imagine why.

"Can you dance?" they asked Mary when
she first applied for work at the M-G-M
studios.

"Well, I think I can," she said. "I never
tried, but I think I can."

CAROLE LO

CTURES PLAYER

You can have

ENTICING
EYES

# The prettiest eyes in the world
pass unloved, unless they are framed
in dark, caressingly-solt lashes. . . .

Ask any artist in make-up, how
to get such lashes. She'll tell you:
— use a LIVE-tone mascara.

Winx, the new type mascara, is
composed of many LIVE tones —
not one thick, solid tone. Therefore
it darkens lashes and makes them
look live, glistening, natural. Their
silky, languid beauty lasts for many
hours. Winx can't smear, smudge or
flake off. Never forms ugly "beads."

Two forms — Cake Winx, and
Liquid Winx. Both are tear-proof.
Both utterly sale, pure. . . . Complete
the magic of your eyes with a gi >ssa-
mer thread of Winx Ei/e Brow Pencil
and a touch of Winx Eye Shadow.

MASCHRA

winx

WASH OFF

REPULSIVE

FACIAL

HAIR

It's just as simple as that. Apply
mild, pure, frayrant DeWans —
then wash it off, and with it the dis-
figuring facial hair — withoutsmart-
i ng or even " pinking" the skin I This
mild facial hair remover, being eco-
nomical, is therefore, also more desirable for
removing hair from arms and legs. DeWans is
$1 at the best department and drug store9.

^fe

DeWANSWFACIAL
HAIR REMOVER

CO they put Mary under what they call a
^dancing contract, which was grand except
for one little fact. She couldn't dance. She tried
hard, mind you, but it was just no go.

"Why don't you ask them to change it to a
stock company contract?" the dance director
asked. "They'll do it for you." After all, he
fad to think up some way to get rid of this
little roly-poly who kept everyone out of step.

And with no fear of the front office (the
lambs know no better), Mary actually did
round up a stock company contract — "git
along little blondie, git along."

Nothing happened rapidly. And then
Oliver Hinsdell, who teaches the M-G-M
starlets to say "a-a-a-a-" and pull in the
" tummy," decided to put on a play at the
Beverly Hills little theater and for some
reason, it's even hazy to himself, chose Mary
for one of the roles.

She was the first at rehearsals and the last
to leave. And the opening night, she kept
repeating her entrance line over and over
until the whole cast was "nuts." The only
drawback to the entrance line business was
that the minute Mary made her entrance, she
forgot the oft-repeated line. Couldn't re-
member a syllable.

"So what did little Mary think, in her nest
at peep of day? Mary thought, like little
birdie, mother let me fly away."

Anyway, someone finally got it to her and
from then on everything went splendidly (too
splendidly, they might have known). Mary,
during the course of the second act, was called
upon to drink a glass of ginger ale. Sweet,
beautiful, doll-like Mary stood there drinking
her ginger ale when, suddenly, Mary went
"bur-r-r-up."

Well, sir, coming from Mary it brought
down the house. It was as much the look on
Mary's face, a pained, surprised stare, that
had the audience shrieking and pawing the
air. It rioted them. So they kept it in, and
Mary was a success. She had simply burped

her way up the ladder, for Paramount saw her,
and into "College Humor" went Mary.

I watched her make quite a bit of the picture.
In fact, I was constantly tripping over Mary
as she sat flat on the floor of the set peering
at herself in a hand mirror. "For heaven's
sake, Mary," I'd urge, "sit on a chair some-
where and get off the floor." She merely
giggled. "I like it better on the floor," she'd
say.

TN one of the scenes the rain was supposed to
-'■be pouring down. And Mary was to enter
Bing Crosby's room, remember? Naturally,
it was necessary for Mary to be rained on.
And time after time she stood there while they
literally broke a cloud-burst over her head.
She was wet and miserable. And still she
giggled, good little sport that she is, as over
and over they drenched her. The grin never
left her face.

Can she take it?

"Hello, stupid," a few smart souls around
the studio will call at her. "Hi, stupid."

Just the tiniest, little flick of a blue eye
betrays the hurt. And then the giggles spring
out.

"Hi, yourself," she'll call.

Swell little egg to take it right on the chin
like that.

And the funny part of it is, Mary isn't
stupid. You know that, of course, if you saw
her in "Should Ladies Behave?" But those
curls and that bland, innocent little expression
are getting in their deadly work already, you
see. Even off the screen.

For some reason, someone said, they never
treat Mary as a grown-up human being around
the studio. They took a test of her at the
studio the other day for an important part in
a coming production, and the test turned out
marvelously. Everyone on the lot knew it
but Mary.

XTERVOUS, anxious to know, game little
•LN thing that she is, she never asked or com-
plained. For days under the terrific suspense,
she waited. Waited for someone to say, "Well,
Mary, you were terrible," or "Mary, you
were grand."

No one bothered. It was only little Carlisle.
Little baby doll.

Finally someone did tell her.

There was a quick catch of the breath. A
tear stood for a moment in those blue eyes.
And then someone called, "Hi, stupid," and
she shook her head quickly and then, with a
sudden giggle, called back, "Hi, yourself."

So you see, it's no wonder we wonder what's
ahead for Mary. After all, one can flutter
through only so many pictures. Can giggle
only so long. "Cute," they say, as Mary,
gallant, brave little heart, goes about her way.
"Cute, isn't she?"

But Mary is growing up. Mary is getting
to be a big girl.

So little girl, what now?

Leslie Howard's Lucky Coin

CONTINUED FROM PACE 70]

couldn't afford not to take it. And with the
last money they could get together, he set out
alone for New York once more.

" Laurette Taylor was to be the star and I
her leading man," he said. " We rehearsed for
a long while, then the play had its tryout in
Great Neck, Long Island.

"Sadly enough, it was a failure, or shall I
call it a flop, as you say in America? " His eyes
twinkled merrily.

"Oh, I can laugh at the experience now, but
frankly I was heartbroken. I'd taken the last
money we had to make the trip, anticipating
that my previous success would herald a new
and greater triumph. And I admit I was a
disillusioned, discouraged, very thin and very

hungry young actor out of work when the
thing blew up.

"I came back to New York and hid away in
a shabby, little room on a side street, wondering
why I'd ever come from England on so thin a
chance. I was terribly lonely. I walked the
streets for hours, gazing into shop windows to
take my mind off the disappointment which
stayed with me like a nightmare.

"I was sitting disconsolately on the side of
my bed one morning trying to figure out whom
I could see next about getting a job, when the
little envelope arrived, with the gold piece,
from Ruth. I slipped it into my pocket and
started out — really to buy some breakfast.

"At the corner of Broadway and Forty-

Photoplay Magazine for March, 1934

109

Sixth Street, I ran into an acquaintance, a
fellow I'd met while doing the rounds of theat-
rical oflices.

" ' Haven't you heard the news? ' he shouted
at me with great enthusiasm. 'Miller's going
to try 'Her Cardboard Lover' again -this time
with Jeanne Eagels. Better hike up there and
make a try for the part.'

"I rushed over to Gilbert Miller's office and
was greeted with open arms. They'd been
1 >oking all over town for me. And there I had
been sitting in a shabby, little side-street room
wondering where I'd find a job."

TTHE rest is theatrical history. How very
■*■ much of a hit the play was; how it ran for a
long time on Broadway to capacity houses;
how the night the audience applauded with
thundering encores. Leslie Howard went to his
dressing-room lingering his lucky coin, glad
that Jeanne Eagels had made such a hit.

Jeanne ran upstairs to him and fairly dragged
him to the stage, while Leslie held tightly to
the lucky charm which — if you believe in such
things — had given him this chance in a hit
play at last.

"It's you they're calling for, Leslie," said
Jeanne. "I've taken three bows. They won't
stop until you come out."

It was all so true. The audience had found
a fine, new, talented actor. And they insisted
upon his receiving their acclaim.

Leslie Howard confesses now that he was
stunned by the ovation.

It was Jeanne Eagels' play. She was the
star. Leslie Howard was comparatively un-
known. Yet she was glad to share her stardom
with the new young man in whom Gilbert
Miller had such unswerving faith. At last he
was started.

And that beginning was the first of his sen-
sational success on the stage which led to those
enviable picture contracts later on.

A XD now, sometimes, in the middle of the
■* *-night, Leslie Howard has a bad dream that
he is back again in those days of struggle and
despair.

Then his hand goes mechanically to the gold
coin on the chain around his neck.

Once, it wasn't there. He jumped out of
bed, turned on the lights and began a prolonged
search until he found it — under the bath sponge
at the side of his tub.

"It's funny," he laughed, "how significant
the thing has become. I suppose nothing
would happen to me if I lost it, though it would
make me very uncomfortable, indeed. That's
why I guard that lucky coin so carefully."

*w x ^m

m 1 *, *- r '

ir^^

if xw$mA

\ "J

- m

The chap with Rogers would be
Kaiser some day, if Germany were
still a monarchy. He's Prince Fer-
dinand. Came to lunch with Will
and liked the ranch so well he re-
mained there for a whole week

AFTER A STRENUOUS DAY

... or at any time at all when you feel the least
bit tired, do what they do in Hollywood — just
enjoy a fresh stick of Wrigley's DOUBLE MINT
gum. The chewing at once helps you to relax,
as the screen stars know. Besides it gives you a
glamorous new beauty because it eases up those
tense, unbecoming lines which come around your
mouth and eyes when you are tired. Try it. 0.2

I IO

Photoplay Magazine for March, 1934

The Most

AMAZING
VACATION

Ever Conceived

In this year of transition, the
Miami Biltmore gives signifi-
cant impetus to "the new
modernism" with the most
brilliant and diversified sched-
ule of resort entertainment
ever offered ... a plan em-
bracing events of national in-
terest in every department of
sports . . . gay activities to sat-
isfy every mood . . . full privi-
leges in the Florida Year
Round Clubs (Miami Bilt-
more Country Club, Roney
Plaza Cabana Sun Club at
Miami Beach, Key Largo An-
glers Club on the Florida
"keye"), including aerocar
transportation to ALL points
of interest, autogiro service
between hotel and beach, sea-
sled — without extra cost (thus
saving you in taxi and other
fares the amount of an ordi-
nary hotel bill!)

In short, here is a COM-
PLETE VACATION in "The
Center of the Wintertime
World," as well as luxurious
living in one of America's
greatest hotel estates ... of-
fered at a cost that will fit
into a budget that was set
up even before good times
peeped around that well-
known corner.

Open Oct. 28th to June 30th
For information, literature and
reservations address the hotel
direct or see your travel agent

MIAMI BILTMOPiE

CORAL GABLES

FLORIDA

Happy Landing!

[ CONTINUED FROM PAGE 55 ]

cafeteria trusted him for food for many weeks.
To the glory of Hollywood, it can be recorded
here that this man is often now the guest at
Bill's mansion on the mountain.

At last, he was given a small contract by
Famous Players-Lasky which was to run five
years. He was to receive twenty-five dollars
per week the first year, and sixty dollars
during the last year. The day Bill signed the
contract, he walked many miles to his home,
stopping every few blocks to gaze at the paper
showing the magnificent salary he was to get.

This contract was not renewed after the
third year.

A NOTHER period of idleness followed.
-'^-Finally a call came from the casting direc-
tor of the Fox Studios. His luck changed again.
Bill was engaged to play the heavy opposite
Buck Jones in a Western film. The salary was
two hundred dollars a week.

The future seemed much brighter, when one
night he went for a ride with a friend, and
slipped from the running board of the car and
broke his ankle. The accident laid him up
for many months.

This was the darkest period of his life. He
could do nothing but wait — in a furnished
room.

During these months his mother and grand-
mother died. The grandmother had been the
most understanding friend in his life. "I
understand the boy," she used to say. "He
is just restless, and a rover, like his father.
Some day he will find himself, and then watch!"

Bill remembered her words, but had little
faith in her as a prophet while sitting destitute
with a broken ankle in a furnished room.

The rooming house in which Bill Boyd lived
was run by a lady named Maggie McCabe —
and may God in his Heaven bless her.

She was about as poor as Bill. Maggie
McCabe would leave her house at a certain
time each day. Baked potatoes, boiled beans
and pieces of meat were left in her ice box in
such a way that even an actor with a broken

ankle could abstract victuals therefrom and
not be detected.

Bill told me proudly how he used to hobble
into the kitchen and take this food, and pray
that Maggie McCabe would leave her house
the next day. This she always did. Bill will
learn for the first time, when he reads this
article, that Maggie McCabe left the house
each day on purpose.

I knew Maggie McCabe. "Shure," she
said, " the poor bye was hungry, an' he was too
proud to beg; and may the sun never shine on
me poor father's grave in Ireland if I'd ayven
let an actor stharve in Hollywood."

One day the actor with the broken ankle
borrowed a crutch and hobbled to the DeMille
set. The mighty matador of synthetic
emotions saw him leaning on his crutch. He
left the set and went to Bill. Hearing of his
plight DeMille gave Bill a check for three
hundred dollars and sent him to his room at
Maggie McCabe's in his own luxurious car.

A letter arrived next day from C. B.
DeMille. It said something in effect to the
actor that perhaps he was being tried in the
furnace, and the great showman hoped that he
would emerge — pure metal. "A man, stern
old Ibsen," wrote DeMille, "who has suffered
more than most men, has somewhere written,
'Never be so mad as to doubt yourself.' I
hope you will remember this, and when you
are able to walk again, come to me."

WHEN he was able to walk, he went to
DeMille, and was given his first part of
consequence in that director's film "Road to
Yesterday."

When this picture was finished, and another
film had intervened, DeMille gave Bill the
lead in "The Volga Boatman."

The rest is film history.

I cannot close this particular phase of Bill's
life without mentioning his great admiration
for DeMille. "Say something about my
gratitude to him," he said.

Now that the dream of the home has been

Fay Wray with her mittens on. No reason. And it isn't a new Hollywood

fashion note, either. Fay is perusing a news sheet— and finding it most

amusing. Her latest production is "Madame Spy"

1 1 1

realized, the petite and lovely Dorothy
Sebastian has become philosophical. "We
must keep working," she says, "to keep our
minds active and to make our home a restful
place for our friends."

And this, Dorothy does, with all the in-
herited hospitality of the South.

Dorothy comes of a family of missionaries.
Her grandparents were stationed in Con-
stantinople four years.

While in Xew York playing in George
White's "Scandals of 1924," she also wrote
syndicated articles. When the "Scandals"
closed she went home to Alabama, where she
remained several weeks, and decided to gamble
the five hundred dollars she had saved by
investing it on a trip to Hollywood.

T\ 7HILE under contract to Metro-Gold-
** wyn-Mayer she was loaned to play op-
posite Bill Boyd in "His First Command," in
1929. Her next picture with her future hus-
band was "Officer O'Brien." The picture was
so bad that in consoling one another they fell
in love. They were married in 1930.

A reception was given after their marriage.
Many notable people attended

In a corner of the room stood a little old
lady dressed in black. She came up to me as
I entered, and said, "It's glad I am to see you
among all these big bugs. And isn't it a
beautiful wife the bye picked?"

The little lady in black was Maggie McCabe.

Only Al Wanted
to Play

[ CONTINUED FROM PAGE 33 ]

"If 'Wonder Bar' were being made by an
all-star cast from this studio, I wouldn't object
to doing a minor part. Then I would feel that
it was a matter of give and take between
players on this lot. If I were asked to do a small
part in support of Jimmy Cagney or Warren
William or Eddie Robinson or to fill in a cast
for Stanwyck or Blondell, or any of our own
women stars, I'd grin and do it.

" But this is different. Xotonly was I cast to
a role in a picture I did not want any part of,
but I was put in a picture in which the male
lead is not recognized as a screen star and the
girl with the only feminine part that can be
called a part, is borrowed from another studio.

"There is nothing personal in this at all.
Dolores is a good friend of mine, and I'm glad
to see her get a nice part — but she is not under
contract here and I do not think I should be
asked to support her at the cost of playing a
weak bit.

""DOOR parts," continued Kay, "hurt an
*- actress more than the average person can
realize. The public does not analyze the part
a star plays; it thinks only of her performance
in that particular picture. No star on the screen
can play four bad parts in succession without
meeting disaster. And, personally, I think
I had my share for the time being.

"I could understand being cast to such a
role if the studio did not value my services and
had not renewed my option, but, under the cir-
cumstances, it seems inexplicable to me."

Almost unanimously, the players in the cast
of "Wonder Bar" felt that Miss Francis had
ample grounds for her feeling — though some of
them were of the opinion they had taken
equally as hard a rap. But more of that later.

All things considered, no one could possibly
accuse Miss Francis of poor sportsmanship.
But, as a matter of fact, exactly the opposite
is true.

"I don't care what I portray," explained
Kay, "from a cheap honky-tonk girl to the
Queen of England, but I want it to be a part
that means something and a role I can build up.

"Gee whiz," exclaimed the frank Dick

Photoplay Magazine for March, 1934

DmA X^^Jji€^ M fid C^M&...LsM

Asatm

1S£ xm
says

Mme.

>^£_

Sylvia

of Hollywood

World's Foremost Authority on care of Feminine Figure

Hear Mme. Sylvia on the Air sharing with you the
beauty secrets she taught Hollywood. NBC Red Net-
work, Coast to Coast, Tuesdays, 10:50 P.M., E. S.T.

OW YOU can have, absolutely with-
out cost, the same Personal Consul-
tation Chart, the same diets and exercises
Mme. Sylvia gives those glamorous beau-
ties you envy on screen and stage. The
chart is your every-day guide to a perfect
figure. It shows you exactly where to put
on or take off weight ! The 3 2 -page
booklet tells you just how it can
be done! Every exercise, every
important movement is pictured
and explained — posed by Mme.
Sylvia herself. You get the proper
instructions just as if Mme. Sylvia
were right with you — in your own
home!

Don't suffer from an imperfect
figure! Make yourself lovelier
Mme. Sylvia's way! Build up if
you're too thin! Reduce if you're
too fat any place from chin to
ankles. Mme. Sylvia's exercises are
easy. Their results are magic — if you
follow them faithfully. Her diets are
marvelous — so tempting and so varied
you'll be glad to follow them. Mme. Sylvia
has one rule for everyone — and she says,

"Eat Ry-Krisp Regularly"

Ry-Krisp, the crunchy, toothsome,

whole rye wafers that taste so good with

any kind of food, are one of Mme. Sylvia's

favorite beauty

aids. You see

she knows that

they are more than a delicious accom-
paniment to breakfast, lunch or dinner.
She knows that they help to keep you
fit and "regular" — that they're ideal with
any type of diet — and best of all, she
knows that they satisfy appetites safely
because they're filling but not fattening!

Your grocer has Ry-Krisp in red and
white checkerboard packages. Get some
today. And don't forget to save the pack-
age top. That's all you need to get Mme.
Sylvia's Personal Consultation Chart.

mme. Sylvia's chart and book — FREE! use this coupon

Madame Sylvia, Ralston Purina Company,
625 Checkerboard Square, Saint Louis, Mo.

I enclose one box top from a package of Ry-Krisp. Please send me your
Personal Consultation Chart containing 32 pages of diets and illustrated
exercises — the same that you use on the Movie Stars. (Offer good only in
U.S. A. and Canada.)

Name

Address _

I 12

ery few girls are

orn with f* , , ,

X^yurly leashes!

Photoplay Magazine for March, 1934

j Powell, " I thought I was due for a good break
— because I've been merely marking time since
'Gold Diggers.' You know, I really need a
chance to do something right now, because
I must make my mark while the musicals are
still popular. Wasting time is suicide for me.

"When they talked to me about 'Wonder
Bar,' I told them I didn't want to go into it.
I knew Al Jolson would never let another
singer do anything in it. But I didn't know
how much he wouldn't until he took the good
song that was assigned to me and gave me in
exchange the eight bars he didn't like.

" I suppose you can't blame a singer for that.
I know, because I've seen it work out in stage
shows and on the radio — one singer will never
let another in the same show have good num-
bers. I've gone up to the office two or three
times, trying to be taken off the picture, but
it's no good. I've got to go through with it and
take the crumbs that fall my way, I suppose.

" I'm new in pictures, and can't battle it out
like Ricardo Cortez is doing. Anybody that
hogs a scene with him is going to have to step
lively."

And that remark brought to mind the razor-
like smile of Ric's and his dry comment that it
was a "swell picture" for him. Cast to the part

NO HEAT
NO COSMETICS
NO PRACTICING

Nobody . . . ever or ever . . . li^ed having straight
lashes. (What is it about that slow, upward sweep
that's so devastating?) But up to now, there hasn't
been much choice about it. Now there is a Way.
Kurlash ...a new, improved Kurlash. Kurlash is
that ingenious little gadget that takes your straight
lashes and turns them out divinely curled . . . and
instantly! It isn't a cosmetic, and you don't use
heat. Slip your lashes in, press the Kurlash handle,
and that's all there is to it. It costs $i, and if it
isn't at your favorite department store, drug store,
or beauty shop, we'll send it direct.

The Kurlash Company, Rochester, New York
The Kurlash Company of Canada, at Toronto 5

LOUIS
PHILIPPE

SKIN '
DISCOVERY.

clear,

1 can be beautiful wi

. Louis Philippe, far

■eftted a new, 2 w.iv trcatnir-nt for day
and nicl.t use that dear* up PIMPLES. ECZE-
MA ACNE. BOILS and other SKIN BLEM-
ISHES Contains natural. healing .-kin foods
and medicine;'. Results guaranteed — a clear
skin or your money back. Send only $1 00 for
du'ihh tfi-atriient — or pay postman plus postage
on delivery. Write

LOUANGEL CORP.. Dept. C-16

316 W. 23 St. New York City

"moles

HOW TO REMOVE THEM

A simple, home treatment — 25
years success in my practice.
Moles dry up and drop off.
Write for free Booklet.

WM.DAVIS, M.D., 124-D Grove A»e.,Woodbridge, N. J.

of a crooked professional dancer, two-timing
his sweetheart, is no break for Ric — but nobody
is jostling him out of scenes — as evidenced by
his skillful blocking of Al's casual little stage
tricks.

" Ric'll probably make something out of that
part of his," continued Dick, "but I'm all
bottled up. And just when I need a break, too.

"You know I've been teamed with Ruby
Keeler for three pictures — and I thought may-
be Al would want to see me built up a little.
But I guess I guessed wrong, because he's go-
ing over all the scripts suggested for us — as
Ruby's manager and I'll probably be whittled
down in them."

And that's how things were on the "Wonder
Bar" set, with almost all the players in the cast
struggling to get out of the net. But at least
they are not asked to raise their right hands in
salute and cry, "Viva Yoelson."

And here's a very curious foot-note to all the
above. Every actor in the cast is so determined
not to have Al steal all the scenes, that I can
forecast "Wonder Bar" is going to be an ex-
ceptionally good show. Everyone of them is
upon his toes when he steps before the camera.
And as for Al — well you know what a sensa-
tion he has always been on Broadway.

Star News From London

CONTINUED FROM PAGE 77 |

in which Gracie Fields is starred. Of course,
Gracie Fields doesn't mean a thing to you —
but she is by far the biggest box-office name
in all of Britain.

Exploited as "the richest working woman in
the world," this extraordinary woman is said
to be earning the equivalent of $750,000 a
year from film and stage engagements, broad-
casting and phonograph records. Vet her
exploiters insist they'd not think of attempt-
ing to crash the American market with her —
either in the flesh or on the screen.

As for Gracie herself, she will tell you, in her
inimitable provincial dialect, that England's
good enough for her, thank you very much.

DOWN at Elstree one recent day I had an
interesting chat with Ralph Ince. This
member of the famous family slipped into
London on gum shoes, instead of with the
usual blare of trumpets. He is playing a
leading role in the British International
picture, "Love at Second Sight."

On the completion of this film the B. I. P.
chieftains are planning to give Ince a picture
to direct.

THAT same day I had luncheon in the
B. I. P. commissary with Marian Marsh,
as lovely a blonde as ever came from Holly-
wood. She told me with a smile how she'd
given the reporters two surprises when they
met her aboard the S. S. Washington at
Plymouth.

First, she showed them her passport — and
it definitely proved her status as a British sub-
ject. (She was born in Trinidad.) Then she
told them that, although it was well past mid-
night, she would be at work before the camera
before the day was over! And she was!

It was five o'clock in the morning when she
got to her London hotel. After breakfast, she
received the corps of studio dressmakers who
fitted her for the gorgeous dresses which she
wears in "Love at Second Sight."

Following luncheon, Marian drove to
Elstree, where she worked until seven o'clock
that evening. Even then, she declared she
wasn't a bit tired, but the director called a halt
to proceedings.

T'VE had enough experience with the vagaries
-•-of film stars to take for granted almost any-
thing any of them do. (Witness, for example,

young Fairbanks' last-minute decision to re-
turn to Hollywood within a day or two of his
solemnly declaring to me that he would never
revisit the film capital to make another picture
as long as he lives!) Wherefore, I take
Gertrude Lawrence's denials of her intention to
become Fairbanks' bride — when his divorce
from Joan Crawford becomes final in May —
with a large grain of salt.

All I can do — in my capacity as your
dutiful correspondent — is to record the fact
that thus far Miss Lawrence has dispatched a
long cablegram to young Douglas every day
since his departure from London. And every
day there has come to her an equally lengthy
cabled message from him!

There I leave it.

T* AST, but by no means least, I'm disgusted
-'-'and mad — to the boiling point.

Here we have in our midst the woman who,
according to almost every New York critic,
is the foremost actress of the English speaking
world — and upon her arrival, the London
newspapers refer to her as a "U. S. A. star."

That would be all very well if it were not
for the fact that Lynn Fontanne was born in
London of English parents. It wouldn't make
one so sore, if it were not for the further fact
that for years Lynn haunted managers'
offices in the West End, trying her best to
get a chance to show them what she could do.

It was actually Laurette Taylor who gave
Lynn her first real opportunity. (It would be
an American.) It happened during the war
when Laurette was in the midst of her three-
year run in "Peg O' My Heart." The star
realized that her New York accent didn't fit
in so well — at the teas and after-theater supper
parties to which she was invited by titled
folk.

So she made a deal with Lynn to coach her
in English — as it is spoken in Mayfair.

That was the beginning of a friendship which
culminated in Laurette's taking Miss Fontanne
back to America with her, and giving her a
part in one of her husband's plays.

Of course, you all know the rest of the story
— her marriage to Alfred Lunt, and her soar-
ing to heights in the theater, reached by only
the illustrious few.

And now she comes home — to appear with
her husband on the stage in "Reunion in
Vienna" — only to be branded an alien.

Photoplay Magazine for March, 1Vo4

Sweet Alice Brady

CON 1 IM I D FROM PAGE 60

picked up in sonic little out-of-the-way shop
(and adores) she'll wear an almost priceless
chinchilla coat. Soft and beautiful. Except
for where the dog chewed the sleeve nearly oil.
Outside of that you couldn't buy it for a king's
ransom. The hat will be a little before-the-
depression number that she clings to regardless
of dozens of new ones, but the earrings beneath
\\ ill be worth a small fortune. And altogether,
she'll look like a million.

THOUGH she reads the comicalest little
paper-backed blood-and-thundcr maga-
zines, she's also read most of everything good
that has been written in years.

Her grin is the most surprising, disarming,
spontaneous, gamin-like thing that anyone
ever beheld. She's never down. Never com-
plains. And yet her heart lies severed within
her at the tragedy of her broken marriage. And
for the little son who will ever and ever be ill.

But perhaps the most amazing thing about
her is the fact that movie actress that she is.
she isn't bothered about publicity. Always
glad to see writers and interviewers but three
minutes after they've arrived she's forgotten
just why they're there. And so have they.

And work? Of all the things about her,
that's another one that Hollywood simply can't
get over. With most actresses complaining and
groaning about overwork and wanting to do
but two or three pictures a year, here's Brady
crazy to work all the time.

She no more finished "Broadway to Hol-
lywood" than siie was capering about in
"Should Ladies Behave?" and when Para-
mount wanted her for "Miss Fane's Baby Is
Stolen," and the studio thought it would be
too much for her, Brady was tit to be tied in
knots. She was on the 'phone pronto. First,
the casting director. Who referred her to a
supervisor who, in turn, referred her to a pro-
ducer. " What's this about my not making the
Paramount picture?" she yelled at all of them.
And 1 mean veiled. "Of course, I can do it.
I've got Sundays off from this picture, haven't
I? Well, I can do the part on Sundays. And
lunch times. Why, I never heard of such a
thing as thinking I can't do it. And stop sput-
tering in my ear," she screamed through the
'phone at the dumbfounded producer who
thought he had suddenly gone nuts. As he
probably had.

"Ridiculous," she went around muttering,
"a body has to fight to get a little work to do
around here," and she made the picture, too.

SHE descended on Hollywood, a well known,
thoroughly established stage star. A some-
body from the Xew York stage with "Mourn-
ing Becomes Electra," "Forever After" and
"Mademoiselle" all to her credit. And they
expected someone that — well, you know, would
be a bit stifnsh and stand-ol'lish and not too
good in pictures right off. After a few roles.
Miss Brady, maybe, would be ready for a little
loud huzzahing from the studio, they thought.
Xot too loud, of course. No ear splitting yells
or anything. Just enough to let people know-
that Alice was in pictures and you could ignore
it. if you wished. So they stuck her in a minor
role in "When Ladies Meet" and hoped to
heaven Ann Harding and Myrna Loy would
make up for any blunders Miss Brady would
make.

And what does Alice do to everyone's amaze-
ment but walk off with the show. And didn't
even know she did it. Doesn't yet, in fact.

She hasn't the slightest egotism. Anyone
can tell her she's no good in a certain part, and
she'll believe it implicitly. And 'phone all her
friends and warn them she's absolutely terrible
in that picture. So and so said so.

"It skids, that's the trouble with it. It
needs chains. Just when I'm trying to be seri-

IT'S A SHAME, THE
WAY THE TIME OF MONTH
GETS CORA DOWN ! 99

SHEWANTSTOSOFFER!

I TOLD HER HOW MIDOL
EASES REGOLAR PAIN 99

How to Relieve Periodic Pain:

Watch the calendar, lake Midol i.i lime, and you
can often avoid even one twinge of the expeclcd
pain and be comfortable throughout the period.

MARCH

T W T F

1 2

6 7 8 9

12 13MXK

20 21 22 23 24

25 26 27 28 29 30 31

Take one tablet V^ _J then drink a full
glass of 'water. Even when the pains have begun or are at their
worst, you're at ease in ten minutes.

Periodic pain is out. So is discomfort at
this time. That's a fact, and it's just too
had for the girl who doesn't know it. A
million women have had it proved to
them. At least that many women now
use Midol, keep their dales and keep
comfortable.

Midol is as harmless as the aspirin you
take for an ordinary headache. But don't
be fooled by ordinary pain tablets offered
as a specific for menstrual pain! Midol i>
a special medicine offered for this special
purpose. Its action is unusual. Its relief
is felt almost immediately.

Take a Midol tablet just before the
expected pain. You may have no pain at
all. If you do, a second tablet will usually
check the pain in seven to ten minutes.
That's how rapidly this remedy works!
And the relief is unusually lasting.
Two tablets should see you through v

your worst day. Decide now your next
period will be comfortable. Get some
Midol tablets and have them ready.
Meantime, you might try one on an
ordinary headache for proof of its speed.
Menstrual pain will be eased just as
quickly, so it's folly to suffer. Midol is
not a narcotic. It forms no habit. It does
not interfere with the natural and neces-
sary menstrual process— just makes it
comfortable and easy.

These tiny, tasteless tablets come in a
slim little case of aluminum. Tuck it in
your purse and be prepared. Then make
your engagements — and keep them —
without worry as to the time of month.
Every drugstore now has this relief for
periodic pain. You'll usually find it on the
_X toilet goods counter; or just ask for
Midol. Directions telling exactly
how to use it will be found inside.

ii4

When Winter brings

NASAL

IRRITATION

MENTHOLATUM

bjung± /toothing.

COMFORT

Why let nasal irritation rob you
of comfort and rest when
Mentholatum is so helpful in
checking this condition?

Just a bit in the nostrils before
going to bed soothes the irritated
mucous membrane and helps to
overcome the stuffed-up feeling.

Keep a jar or tube of pure,
stainless Mentholatum handy at
all times.

mxr.

Photoplay Magazine for March, 1934

ius on the screen the thing skids and I'm doing

tragic scene with a comic face. Look at it.

often see those little blonde babes around
here giving me the once over. I bet they're
thinking just how that one fits into pictures
with a face like that."

And she'll give one of those famous grins,
accompanied by that little snort of laughter
that simply throws everyone into stitches.

You should see Alice arrive at the studio,
barging up the dressing room steps with her
four dogs yapping at her heels.

"Edie," she starts calling at the bottom step
to her hairdresser up stairs, "Edie, yoo hoo!
Look at my hair. Edie, it sticks out all over.
Yoo hoo Edie ..." until Edie, to silence the
turmoil, will emerge from Norma Shearer's or
Joan Crawford's dressing room and call back,
"Yes, all right. I see you. I'll fix your hair
in a minute."

"P DIE, incidentally, would lay down her life
■'—'for Alice, because as Edie says — Alice doesn't
pick all the curls out of the wigs after she has
spent hours curling them.

She has decided to be a blonde in all her pic-
tures. She thinks blonde hair does something
kind to her face. It will be only blonde wigs,
however. Her own hair remains black.

She's even inconsistent in her English, this
Brady. For instance, they were rehearsing a
scene in " Should Ladies Behave?" when Alice
stopped in the middle of the dialogue. "You
know that sentence doesn't sound right to me,"
she said.

"There's something faulty in its construc-
tion."

"Sounds all right to me," the director said.

"No," argued Alice, "now let's parse it and
see." And parse it she did with everyone rub-
bing his head in puzzlement over the wrong
participle and Alice proving she was right.

"Now," she grinned, "Ain't that better?"

She has a mania for buying gadgets. Trick
cigarette lighters. And giving them all away.
And wants to try everything she ever reads
about. The false fingernail thing, though, was
ultra-extraordinary.

She had read about them some place and
nothing would do Brady but she had to have
false fingernails. The kind that just slipped on
over her own. So she telephoned everywhere
in town, but no fingernails.

"Now Alice, for heaven's sake, you wouldn't
wear them if you had them," a friend expostu-
lated.

Alice gave that famous grin. "No, I know.

THE BEST GRAY HAIR
REMEDY IS MADE AT

HOME

You can now make

at home a better

gray hair remedy than you can buy, by

following this simple recipe: To half

pint of water add one-ounce bay rum,

a small box of Barbo Compound and

one-fourth ounce of glycerine. Any

druggist can put this up or you can

mix it yourself at very little cost.

Apply to the hair twice a week until

the desired shade is obtained.

Barbo imparts color to streaked, faded or gray

hair, makes it soft and glossy and takes years off

your looks. It will not color the scalp, is not sticky

or greasy and does not rub off.

EARN FREE

mz&^JXfo,

Matthews' 1934 Spring Frocks, Lingerie and I
Longerlife Hosiery — preferred by thousands I
everywhere — offer a real opportunity for many I
Women Representatives. Our new represen- [
tative's plan requires no canvassing — no capi-
tal— no experience. We provide complete style
equipment Free with easy instructions Fullor
part time workers who act promptly
^■■^^^^ get special bonus plan for free
I |JmW dresses, lingerie or hose. Act
J ' A M ^kL now. Address 512 Jackson ]
■ l|J.^k Bldg.. Indianapolis. Ind.
UiUA MATTHEWS MFG. CO.

But I thought they'd be so cute to look at.
Can you imagine me walking down the street
and have some gentleman come up and say,
'Lady, pardon me, but did you drop your
fingernail?2 "-

A S for food. How she does go in for exotic
-**-dishes! For instance, she'll spend half an
hour discussing dinner plans with her cook with
no one for dinner but herself. " Woodcock in
sherry," she'll order, giving all the directions
for the unusual dish. And then as likely as not,
she'll forget all about it and have a ham sand-
wich at the studio.

During the making of "Should Ladies
Behave?" some ultra-fashionable visitors were
being shown about the sets. They came to
Alice's set murmuring graciously over the
exquisite beauty of it. And suddenly their
gaze was riveted on one of the gold-trimmed
opera boxes. There sat Alice, resplendent in a
gorgeous evening gown, with a huge ham sand-
wich laid out over the elegant upholstering and
a bottle of beer clutched in one hand. About
as elegant, all in all, as a Bowery beer parlor.
With Alice as nonchalant as you please.

What confounds Hollywood so utterly is
that Brady doesn't place the same value on
material things as it does.

Things in a house don't have to be according
to Willie Haines to make it a home for her.
She couldn't even conjure up the picture of
building and furnishing an elaborate home for
friends to pass stiffly through and exclaim over.
She has things exactly the way she wants them
and doesn't care who likes them. Or who
doesn't. That they're right or wrong doesn't
bother her.

SHE wears what she pleases, does what she
wants to do and is still eager, humble and anx-
ious to please. She may be a see-saw sort of
person but there's plenty of good old horse
sense to make a perfect balance when things
go up too far or down too low. Common sense,
inherited, no doubt, from her grand old pro-
ducer father, William A. Brady.

You see the trouble with Hollywood and
Alice is that Alice is miles and miles ahead on
the road to culture. She has had all the things
that Hollywood strives for so ardently, years
ago.

She's a true sophisticate, is Brady, with
scarcely anyone suspecting it. That's why
she's so everlastingly herself.

And will always be Hollywood's most con-
sistent inconsistent.

Hollywood, the World's Sculptor

[ CONTINUED FROM PAGE 80 ]

perhaps, but definitely. And Dietrich, who at
first had promised to be very fine, malleable
clay in the potter's hand, became too strenuous
even for Hollywood. And now the sculptor
has been trying to figure out how to destroy
the mold and recast it while the lady isn't
looking.

"CROM England came Miriam Jordan,
*■ proudly beautiful, simple and charming.

"Ooooooh!" said Hollywood, "what lovely
clay! Let me at it!"

So to the winds it threw Miss Jordan's
reserve; to the shears it sacrificed her long,
shining hair.

And out bounced Mimi.

But the sculptor was fooled. Out bounced
Mimi — for a while! And bounced right back
again.

"No!" she said in that low, cultured, poised
voice of hers. " I am not a flapper and I refuse
to submit to your hey-nonny-nonsense magic.
I shall remain myself."

And Miriam chose to overlook her little
Hollywood spree and forget the brief excite-

ment of Mimi, and really, even the sculptor
is glad. Now, all she has to do is wait until
her hair grows out again and she'll be as good
as old.

Came Garbo! And the strange part of it is
that nobody realized on the day she arrived in
Hollywood that the most beautiful, pliable,
and important piece of clay it would probably
ever have, was lying inarticulately there on
its work-bench.

But it took the sculptor only a few hours —
so the story goes — to wake up to the Garbo
possibilities and begin molding.

It took a raw, awkward, shy young Swedish
girl and made her into the world's most
glamorous figure. And if Hollywood ever finds
itself drowning in a sea of mistakes, Garbo is
a grand straw to hang on to.

It can always retain its artistic pride in this
masterpiece. Garbo stands alone and majestic
as the sculptor's supreme gesture toward
immortality.

"A sculptor wields

The chisel, and the stricken marble grows

To beauty."

Photoplay Magazine for March, 1934

IT5

And the beauty of it is that Hollywood can
keep on molding and molding. There is no
other star in Hollywood who can fit, with such
whole-hearted glamour, into so many diversi-
fied roles.

Garbo hasn't hardened yet, artistically, even
if she does present a concrete front to the
prying public.

The sculptor didn't do so well by the other
Greta, but Miss Xissen is doing pretty well by
herself. In Europe, Miss Nissen was famous
as a pantomimist and dancer. Hollywood
never heard about it — or if it did, chose to
overlook it. Hollywood made an obvious,
effective vamp out of a subtle, intelligent
artist.

But Miss Nissen philosophically respected
the turn of the potter's hand and set out to
prove that a lady can go on a vampage in quite
an artistic fashion.

LYDA ROBERTI, born in a circus (her
father was the clown), molded herself when
she made her stage debut in New York singing
jazz in Polish.

So Hollywood, having met its master, was
reluctantly persuaded that there is no need
for its sculptor's tools.

"Nothing much you can do with a cyclone,"
it mutters discouragedly, and lets it go at
that.

But what it did to the English Benita Hume
is very funny. It tried to make a gangster's
moll out of her (did you see "Gambling
Ship?"), and endeavored to make the purity
of Miss Hume's very English tongue wrap
itself around such lines as, "D'yuh get me,
kid? I said scram!" and "Aw, don't give me
none o' that, big boy!" It was all a little
difficult for Miss Hume to live through — let
alone her audiences. The sculptor hid its
head in shame.

Then it perked up and put in eighteen hard
months on Anna Sten. Miss Sten was kept
so "secret" during that year and a half — no
studio publicity, no pictures, no interviews —
it is pretty hard to tell just how much reshaping
and change took place at the hands of the
sculptor. However, the finished product in
"Nana" was — shall we say — Stenning. And
if Hollywood didn't do much more to Anna
than teach her English, the actress did plenty
to Hollywood — thousands of feet of negative
destroyed, directors changed quicker than she
could say "I don't like heem," and quite a
supply of temperamental fireworks. But that
is another story.

And there is the dentist's son, who slipped
through bandit lines at the Mexican border,
arrived in Los Angeles penniless; worked for
four dollars a week at a grocery store counter;
taught piano; went to New York to study
music and there became a bus boy in a
restaurant.

Back again to Los Angeles; worked as a
waiter in a cafe during the day, and as an
usher in a theater at night.

A ND this little Mexican boy is now the
•* Moremost foreign romantic thrill on celluloid
today, Ramon Novarro. And the sculptor's
fine Hollywood hand is seen here to beautiful
advantage.

Charity began at home when Hollywood
took a Shakespearean actor named Bill Hart
and made a cowboy out of him, and then took
a cowboy by the name of Gary Cooper and
made him into the town's most fashionable
host.

Lionel Atwill, to mention another actor
at random, turned in one of the subtlest,
most expert pieces of acting ever seen on the
New York stage (in "Deburau"); won his
dramatic spurs as the suavest of sophisticated
actors, came to Hollywood and what is he
now?

A horror expert.

There is only one person I can think of who
has dodged the sculptor's yen for alteration.
And that is Marie Dressier.

And Miss Dressier, like the Mississippi, will
just go on and on — being herself.

MARY FINDS WHY WOMEN
ARE QUITTING THE RAZOR S^

WHY MARY-YOUR. ARM \
FEELS LIKE A MAN'S CHIN
WHEN HE NEEDS
A SHAVE.

just use NEET
-it's like a COLO
CREAM AND AC-
TUALLY BANISHES
ARM AND LE6 HAIR

TRY IT,

DEAR

A FEW DAYS LATER -

WHY, MARY-YOUR. ARM

IS SOFT AND FEMININE

AGAIN, DEAR- WHAT DID,.

YOU DO ? . .

THATS MY
SECRET -

NOW! Actually Get Rid of Arm and Leg Hair

No Masculine Stubble — No Stiff Re-growth

vestige of hair growth rinses off with it.
No stubble. No sharp regrowth. The hair
is so completely gone that you can run
your hand across your arm or leg and
never feel a sign of it.

Women by tens of thousands are using
it. Ending the arm and leg hair problem;
quitting the razor with its man-like and
unfeminine stubble. You can get a tube
for a few cents at any drug or toilet
goods counter. Just ask for NEET. It's
really marvelous.

Modern science has at last found a way
to actually GET RID of arm and leg
hair. A way that forever banishes the
bristly regrowth that follows the razor.
Ends the stubble that makes women lose
their charm and allure; and that men
shrink from when they feel it on a wom-
an's arm.

This new way is called Neet; an ex
quisite toilet accessory. All you do is
spread on like a cold cream; then rinse
it off with clear water. That's all. Every

"NEW CLEARING
FACIALASENSATION"

— Says Expert

$5 in Salons;

Only a Few Cents

at Home

MY customers are glad
to pay up to $5 for the
glorious new clearness and
freshness of skin that we
obtain through these mod-
ern facials. Yet they could
have the same results, at
home, for a few cents!"
That's what Jean De Chant
of the famous Maison Jean,
beauty shop in Chicago,
says. "Apply dainty newGolden Peacock BleachCreme
to your face andneck.Innotimeatallsee how smooth
and milky-white your skin appears! This new fineness
and whiteness seem to take years from your face!"
Just ask for Golden Peacock Bleach Creme,
50c size, at any drug or department store. Small size
at any 10c store.

WHISPERED

Great Complexion
Secret !

^^^ *pO her friend she con-

. i _/^^^^ J- fessed the secret of her
"^\iJy'A. ^^^k flawless clear white skin.
^P"' &■ r; ^^A Long ago she learned that
« " ]■ no cosmetic would hide
^±JL ■ Cik H blotches, pimples or sal-

k < ■ '• J^J lowness. She found the

HU. ) •*"»— /Mm secret of real complexion
Wr ^/^ beauty in NR Tablets

3rd (Nature's Remedy). They

X ' ;x cleansed and cleared the
' - eliminative tract— correct-

ed sluggish bowel action — drove out the poisonous
wastes. She felt better, too, full of pep, tingling with
vitality. Try this mild, safe, dependable, all-vegetable
corrective tonight. See your complexion improve, see
headaches, dullness vanish.

CDCCI Newgold&bloe
met: 1934 Calendar-
Thermometer — samples
NR and Toms. Send
I name, address, stamp to
A. H.LEWIS CO.
Desk CC-S5
St . Louis. Missouri

At all druggists' — only 25c.

M5 TO-NIGHT

V\ TOMORROW ALRIGHT

»TI II AC" Quick relief for acid '"digestion,
TUlWS ^.remmach. heartburn. Only 10c.

Photoplay Magazine for March, 1954

7^ y?

Overlooking
Central Paik

■••

RECOGNIZED LEADER
FROM COAST TO COAST

SAVOY- PLAZA ... a name that is
synonymous with luxurious living
...majestic and impressive with
the 840 acres of Central Park at
its doors ... a setting one hardly
hopes for in the towering city of
stone and steel. To the travelled
person, it is vivicly evident that
here, truly, is one of the world's
most distinguished hotels.

CELEBRITIES CHOOSE
THE SAVOY-PLAZA

From Hollywood come celebrities
of the motion picture world to
New York and the Savoy- Plaza.
This outstanding hotel has acted
as host to many of the best known
producers, executives and stars.

SINGLE ROOMS FROM $5

Henry A. Rost, Managing Director
John F. Sanderson, Manager

FIFTH AVENUE

58th to 59th STREETS, NEW YORK

Hollywood Fashions

by Seymour

Here is a list of the representative stores at which faithful copies of the smart styles
shown this month can be purchased. Shop at or write the nearest store for complete
information.

ALABAMA—

Loveman, Joseph & Loeb,
birmingham.
ARKANSAS-
pollock's,

fayette ville.
Pollock's,

fort smith.
The M. M. Cohn Company,

LITTLE ROCK.

CALIFORNIA—
J. W. Robinson Company,

LOS ANGELES.

The H. C. Capwell Company,

OAKLAND.

Hale Brothers, Inc.,

sacramento.
The Emporium,
san francisco.

COLORADO—
The Denver Dry Goods Company-
Denver.
CONNECTICUT—

The Manhattan Shop,
hartford.
DELAWARE-
ARTHUR'S Apparel Shop, Inc.,

WILMINGTON.

DISTRICT OF COLUMBIA—
Lansburgh & Brother,
washington.

FLORIDA-
RUTLAND Brothers,

ST. PETERSBURG.

IDAHO—

The Mode, Ltd.,

BOISE.

ILLINOIS-
MARSHALL Field & Company,

CHICAGO.

C. E. Burns Company,

DECATUR.

Clarke & Company,

peoria.
S. A. Barker Company,

SPRINGFIELD.

INDIANA-
RAYMOND Cooper, Inc.,

INDIANAPOLIS.

IOWA—

M. L. Parker Company,

davenport.
Younker Brothers, Inc.,

des moines.
J. F. Stampfer Company,

DUBUQUE.

MAINE—

B. Peck Company,

LEWISTON.

MARYLAND—

HOCHSCHILD, KOHN & COMPANY,

BALTIMORE.

MASSACHUSETTS-
JORDAN Marsh Company,

BOSTON.

Forbes & Wallace, Inc.,

springfield.
MICHIGAN—
Wm. Goodyear & Company,

ann arbor.
Seaman's, Inc.,

battle creek.
The J. L. Hudson Company,

DETROIT.

Gilmore Brothers,
kalamazoo.

MINNESOTA—

The Dayton Company,
minneapolis.
MISSOURI—
Stix, Baer & Fuller Company,
saint louis.
NEBRASKA—
Orkin Brothers,

LINCOLN.

NEW JERSEY—
Hahne & Company,

NEWARK.

NEW YORK—

Kalet's,

auburn.
Abraham & Straus,

brooklyn.
The Parisian, Inc.,

ithaca.
Bloomingdale's,

new york city.
H. S. Barney Company,

schenectady.
Flah & Company,

syracuse.
D. Price & Company,

utica.
NORTH CAROLINA—
J. B. Ivey & Company

charlotte.
OHIO—

The A. Polsky Company,

akron.
The Mabley and Carew Co.,

cincinnati.
The Higbie Company,

cleveland.
The Morehouse-Martens Company,

columbus.
The Rike-Kumler Co.,

DAYTON.

The Strouss-Hirschberg Company,
youngstown.
OKLAHOMA-
pollock's,
mcalester.
PENNSYLVANIA-
ERIE Dry Goods Company,

ERIE.

Bowman & Company.

harrisburg.
Joseph Horne Company,

pittsburgh.
Worth's, Inc..

YORK.

TENNESSEE—

Loveman, Berc.er & Teitlebaum, Inc.,
nashville.

TENAS—
Levy Brothers Dry Goods Company,

HOUSTON.

The Wolff & Marx Company,
san antonio.
UTAH—
Zion's Co-operative Mercantile Insti-
tution,
salt lake city.

WISCONSIN-
STUART'S,

MILWAUKEE.

Racine Cloak Co.,

RACINE

WEST VIRGINIA—

Coyle & Richardson, Inc.,
charleston.

Photoplay Magazine for March, 1934

117

Green-Eyed Jealousy

1 CONTINUED FROM PAGE 51

in for that sort of thing. Maybe not — but the
smiling Maurice Chevalier didn't want the
beautiful Jeanette MacDonald cluttering up
his new picture, "The Merry Widow." Why?
Well — because — er — well — he didn't.

Meantime the boys in the know say that
Maurice didn't like the way Jeanette rang the
bell over in France on her concert tour. She
sort of rubbed it in on the home grounds, so to
speak. And, incidentally, Jeanette is the most
popular American star in France.

And while he was at it, Maurice didn't like
the way Ernst Lubitsch had been getting
credit for his pictures. So he didn't want him
in on his next, either.

Meanwhile, some said they had discovered
signs that Dennis King did not seem too well
pleased with Jeanette's working with him in
"The Vagabond King."

Can you imagine a couple of two-fisted, hell-
roaring, broncho-busting cowboys being jealous
of one another? Well it seems Hoot Gibson
opined the Westerns were all washed up, and
Ken Maynard reckoned that merely because
they were for Hoot didn't mean that they were
for regular fellows.

You may remember that the same Ken took
Hoot for a trimming at the air races. Which re-
minds us that there is abitof a story concerning
how Hoot Gibson and ArtAcord used to battle
out their mads with fists, boots and what-not,
every time they met. There was right active
jealous)' between that pair.

Xo — we can't let the men off yet. There's
the case of Wheeler and Woolsey, who are
credited with carrying their grievances to
William LeBaron so many times that he re-
fused to listen to them any more. The charge
; .rainst them is that they were so jealous of one
another that they used to count the words in a

script, and every time one had a few more
words than the other the injured party would
start for LeBaron's office.

The natural consequence of this was that
they tried it alone — each doing a picture by
himself and then falling into one another's
arms and hanging on forever more. Today
they are reported the very best of friends, each
with a knowledge of the other's importance to
the twain.

And while all this jealousy between players
was going on at the other studios, the Warner
Brothers were leaning back, thoroughly enjoy-
ing their ringside seats. Over on the First
National lot they had a couple of rivals, too —
but of a different nature. Eddie Robinson and
Jimmy Cagney had both come into fame via
the gangster picture route and had both battled
to the top through hard work and sheer merit.
Between them there was a keen rivalry — but a
friendly and helpful one.

First National was certainly sitting pretty.

npHEN along came Tobin. A quiet, lady-like,
-*- unobtrusive sort of person was Genevieve.
And there was Blondell — as nice and friendly a
girl as you would want to meet was Joan.

Ah well, the dove has flown from the rose-
scented Burbank lot. There were no blondes at
hirst National to worry Joan — and right at the
very start Tobin, looking strikingly like Blon-
dell on the screen, proceeded to raise havoc in
Joan's picture " Goodbye Again."

Joan didn't in the least object to giving the
newcomer a big hand, but she hadn't figured on
having a picture pilfered right out from under
her nose; and is figuring it isn't going to
happen again. But it's [all one big, happy
family over at First National, and Warner
Brothers have a nice supply of aspirin on hand.

" I'll take off my hat, but that's as far as I'll go!!"

~ For years the world has mar-
veiled at Mae West's magic
power over men. What could the secret
be? How could one woman appeal to all
men the way she does?

• One important reason for her great
fascination has been her jealously-guarded
secret for years. Now, with her permission,
it can be told. It is the perfume she uses
... an odeur especially blended for her by
Mme. Gabilla, foremost perfumer of Paris.

• And now . . . Mae West gives this secret
to you in Parfum Mae West. Now you,
too, can enjoy the thrill of having — not
one man but many clamoring for your
favors. Parfum Mae West can be your own
secret key to en-
chantment. Avail-
able at your favor-
ite drug or depart-
ment store, priced
from 65c to §25.00
a bottle.

• If your favorite
store cannot sup-
ply you with Par-
fum Mae West, or-
der from us direct,
using the conven-
ient coupon and
enclosing 65c in
stamps for the dram
size — $1.00 for the
Vi oz. size.

• As a special intro-
ductory offer -we are
sending you six in-
timate photographs
of Mae West with
your order.

S£

PARFUMS WESMAY, Inc.
19 West 18th Street, N.Y.C.

Enclosed find ( ) 65c. < )1.00

Name Pi

Address

City State

NOTE: This is not merely an endorsement
— this is the personal perfume of Mae West!

Photoplay Magazine for March, 1934

Screen Memories From Photoplay

15 Years Ago

NEW!

EXQUISITE!

If you have been using any old soap or shampoo, use
Marchand's Castile Shampoo for a change, for a wonderful
change in the condition of your scalp and the beauty of
your hair.

Ordinary soaps leave soap particles on the hair (despite
rinsing) making it dull, streaky — drying the scalp. Mar-
chand's contains the highest grade of virgin olive oil,
nourishes the scalp, helps retard dandruff. Cleanses gently
and thoroughly — leaving the hair exquisitely soft, easy to
comb— perfect for waving or dressing. Natural color is
not lightened or changed.

Ask your druggist or send for a bottle — fill
out coupon; mail with 35c (coins or stamps)
to C. Marchand Co., 251 West 19th St.,
New York City.

I Please send me your Shampoo — 35c enclosed.

City-

Address .

State .

1 M

I Name

I Address. .

I Druggist Address . .

Your Handwriting
Tells Me...

about your hidden talents and special
characteristics that can be used to at-
tract new friends, increase jour earn-
ings, win fame or gain health and
happiness. Scientists say that your
handwriting is not just hand and arm
writing, but is "brain writing,"
which reveals your real mental atti-
tude and inner nature. Send only 25c
in coin or stamps and sample of your
handwriting, and I will give you a
confidential report telling you of your
dominant traits, talent and ability,
vitality and health, proper mate, per-
sonality, etc. You will be amazed at
the things your Handwriting Charac-
ter Analysis reveals. Money returned
Anton Barrington, Box 98, Dept. 2,

..}! X°nu ,haVTu,irifnd, who wishes Handwriting Analysis
send 50c for TWO Analyses.

if not satisfied.
San Diego, Calif.

Look as Young as You Please

Restore Youth to Your Face

A Free booklet sent in plain wrapper tells
the secret. It tells why Kathryn Mur-
ray's Five-Minute Facial exercises are
the modern natural way to regain the
charm of youth. Simple exercises stimu-
late circulation and bring natural bloom
to your cheeks. Crow's feet, wrinkles,
double chin soon disappear. You
can look 5 to 10 years younger.
Besults assured. Successfully used
by 36,000 women. Get free book
for details. Address: Kathrvn
Murray, Inc., Suite 358. 5 S.
Wabash, Chicago.

YOU WANT CLASS PINS-we have them—
any letters, any year, any colors. Silver
plated, 1 to 11, 35c ea; gold plated, 45c ea;
Btertine, 60c ea. Silver plated, 12 or more,
30c ea; gold plated, 40c ea; sterling. 45c 6:
Sterling silver rings as shown, 1 or more,
$1.60 ea. Write For Free Catalogue.

I MetaIArtsCo.,lnc. Factory 58 Rochester.N.Y.

A Photoplay editorial in
■**-March, 1919, quoted a pic-
ture chieftain as saying: "Influ-
enza hit the film business harder
than four years of war." Once
the industry "tottered on the
brink of anarchy," and he be-
lieved that had there been a
single producer acceptable as a
dictator, all picture makers
would have merged into one vast
protective organization. Yet the
young screen business survived.

" It never has had a big finan-
cial disaster! Not one!" (That was in 1919.)

England, France and Germany were groping
out of the war chaos. Editorially we com-
mented that we would have to face an invasion
of European films, "and it will be the best
thing that ever happened to us."

Thomas H. Ince himself wrote of "The
Early Days at Kay Bee" and the Inceville
adventures. Bill Hart made his first Westerns
at Inceville.

Samuel Goldwyn, seeking a
leading woman for Tom Moore,
found none other than Tallulah
Bankhead, even then up from
Alabama and determined on a
stage career.

Lew Cody was confessor in
"The Confessions of a Male
Vampire."

"Women today are doing their
best to kill romance," said Lew.
"They have grown too clever."
Cecil B. DeMille had assem-
bled "the most notable stock
company that the dramatic world has seen since
history claimed Augustin Daly for her own."
George Loane Tucker's production of "Vir-
tuous Wives," with Anita Stewart, was com-
mended; Universal's "The Heart of Human-
ity" was one of the most elaborate of the war
stories, and Douglas Fairbanks in "Arizona"
provided swift entertainment. Our reviewer
found it paced a bit too swiftly. On the
cover — Lina Cavalieri.

10 Years Ago

HTHE thirteen Wampas Baby
■*■ Stars of 1924 were presented
in the March issue of that year.
Mop-haired Clara Bow was one
of the group. Others were Mar-
ian Nixon, Julanne Johnston,
Ruth Hiatt, Elinor Fair, Lucille
Ricksen, Margaret Morris, Hazel
Keener and Gloria Grey.

Incidentally, Los Angeles
didn't evidence any great hos-
pitality toward the 1924 Wam-
pas party, with the Police
Commission refusing to permit
dancing after midnight. On the invitation of
San Francisco officials, the party was moved to
that city and many Hollywood celebrities
made the trip north.

Adela Rogers St. Johns observed at the
time that the percentage of divorces in Holly-
wood was no higher than elsewhere. Actresses
in the movie colony had evolved what they
called "cat parties"- — evenings of gossip and
hot chocolate, while the men were sent to the

Clara
Bow

fights. Photoplay commented
editorially on Rudy Valentino
returning to work after his year-
long feud with Famous Players-
Lasky.

George Ade, writing about
Tom Meighan, said: "He is one
of the highest salaried actors in
the world and he is deserving of
all his success."

The sLx best pictures of the

month were "Abraham Lincoln,"

with George Billings, previously

inexperienced as an actor, in the

The Great White Way," "Wild

'West of the Water Tower,"

'Boy of Mine," and "Black Oxen."

Will Rogers, "after missing fire the first
time," had returned to the screen under the
Hal Roach banner with greater promise of
success. He had won the right to employ his
own ideas.

This month cover honors went to the lovely
Pola Negri.

title role;
Oranges,"

5 Years Ago

LETTERS from movie devo-
tees pouring into the Photo-
play offices in March, 1929, in-
dicated that talking pictures still
were regarded as a novelty.
However, the sound revolution
was on in full force. Greta
Garbo, Colleen Moore and Clara
Bow had passed their voice tests,
but M-G-M took its big gamble
in giving Jack Gilbert a high-
figure contract without a test.
Rumors had Emil Jannings
ready to go back to Germany —
too much accent.

Recent deaths had saddened Hollywood and
fandom. Theodore Roberts, Marc Mac-
Dermott and Fred Thomson were sorely
missed.

A group picture of the 1929 Wampas Stars
included: Loretta Young, Josephine Dunn,
Jean Arthur, Doris Hill, Anita Page, Mona
Rico, Betty Boyd, Sally Blane, Ethlyn Claire,
Helen Twelvetrees, Caryl Lincoln, Helen

Foster and Doris Dawson.

There was a beaming home-life
study of Doug, Jr. and Joan
Crawford. Madge Bellamy said
a few sharp words about women,
adding: "Men are not selfish."
Tom Mix revealed that most of
his loves were bald-faced cow-
ponies — "but horses are a lot
like movie stars."

"Don't Envy the Stars" was

William an article reminding us of the

Powell inconveniences and discomforts

paid for the price of greatness by

such as Garbo, Gilbert, Chaplin, et al.

Bill Powell pleaded not guilty to the charge
that he was a picture stealer.

The best pictures of the month were "WTild
Orchids," "His Captive [Woman," "The
Rescue," " The River, " " The Doctor's Secret, "
and "My Man."

We printed what was believed to be the only
existing photograph of Dolores Costello in a
bathing suit. On the cover — Marion Davies.

.Photoplay Magazine for March, 1934

Addresses of the Stars

Hollywood, Calif.

Paramount Studios

Brian Alierne
Judith Allen
Lona Andre
Richard Arlen
George Barbier
Mary Boland
Grace Bradley
Carl Brisson
Burns and Allen
Kitty Carlisle
Marguerite Churchill
Claudette Colbert
Gary Cooper
Larry "Buster" Crabbe
Bing Crosby
Alfred Delcambre
Dorothy Dell
Marlene Dietrich
Maxine Doyle
Trances Drake
W. C. Fields
William Frawley
Barbara Fritchie
Frances Fuller
Gwenllian Gill
Cary Grant
Charlotte Henry
Verna Hillie
Miriam Hopkins
Roscoe Karns
Percy Kilbride
Jack La Rue

Charles Laugliton
Baby LeRoy
John Davis Lodge
Carole Lombard
Ida Lupino
Julian Madison
Herbert Marshall
Ethel Merman
Gertrude Michael
Jack Oakie
Gail Patrick
George Raft
Sally Rand
Lyda Roberti
Lanny Ross
Jean Rouverol
Charlie Ruggles
Randolph Scott
Clara Lou Sheridan
Sylvia Sidney
Alison Skipworth
Sir Guy Standing
Colin Tapley
Kent Taylor
Eldred Tidbury
Evelyn Venable
Mae West
Dorothea Wieck
Dorothy Wilson
Toby Wing
Elizabeth Young

Fox Studios, 1401 N. Western Ave.

Rosemary Ames
Heather Angel
Lew Ayres
Jane Barnes
Mona Barrie
Warner Baxter
Irene Bentley
John Boles
Clara Bow
Nigel Bruce
Joe Cook

Henrietta Crosman
Florence Desmond
James Dunn
Sally Eilers
Alice Faye
Stepin Fetchit
Xorman Foster
Preston Foster
Dixie Frances
Ketti Gallian
Henry Garat

RKO-Radio Pictures, 780 Gower St.

Fred Astaire
Nils Asther
Ralph Bellamy
Constance Bennett
Joan Bennett
Kl Brendel
June Brewster
Clive Brook
Tom Brown
Bruce Cabot
Mowita Castanada
Ada Cavell
Chick Chandler
Alden Chase
Jean Connors
Frances Dee
Dolores Del Rio
Richard Dix
Irene Dunne
Charles Farrell
Skeets Gallagher
William Gargan

Wynne Gibson
Ann Harding
Katharine Hepburn
Dorothy Jordan
Pert Kelton
Edgar Kennedy
Francis Lederer
Dorothy Lee
Eric Linden
Helen Mack
Sari Maritza
Joel McCrea
Colleen Moore
Ginger Rogers
Robert Shayne
Adele Thomas
Thelma Todd
Nvdia West man
Bert Wheeler
Thelma White
Howard Wilson
Robert Woolsey

United Artists Studios, 1041 N. Formosa
Ave.

Eddie Cantor
Charles Chaplin
Ronald Colman

Douglas Fairbanks
Mary Pickford
Anna Sten

20th Century Studios, 1041 N. Formosa
Ave.

Judith Anderson
George Arliss
Janet Beecher
Sally Blane
Constance Cummings
Arline Judge

Paul Kelly
Fredric March
Blossom Seeley
Judith Wood
Loretta Young

Columbia Studios, 1438 Gower St.

Walter Connolly
Donald Cook
Richard Cromwell
Jack Holt
Eli?«a Landi
Edmund Lowe
Tim McCoy
Grace Moore

Toshia Mori
Jessie Ralph
Gene Raymond
Joseph Schildkraut
Billie Seward
Ann Sothern
Fay Wray

Culver City, Calif.

Hal Roach Studios

Charley Chase
Billy Gilbert
Oliver Hardy
Patsy Kelly
Stan Laurel
Dorothy Layton

Lillian Moore
Billy Nelson
Our Gang
Nena Quartaro
Oliver Wakefield

Metro-Goldwyn-Mayer Studios

Katherine Alexander

Elizabeth Allan
Agnes Anderson
Max Baer
John Barrymore
Lionel Barrymore
Wallace Beery
Alice Brady
Charles Butterworth
Mary Carlisle
Ruth Channing
Mae Clarke
Jackie Cooper
Joan Crawford
Marion Davies
Marie Dressier
Jimmy Durante
Nelson Eddy-
Stuart Envin
Madge Evans
Muriel Evans
Clark Gable
Greta Garbo
C. Henry Gordon
Russell Hardie
Jean Harlow
Helen Hayes
Ted Healy
Jean Hersholt
Irene Hervey
Phillips Holmes
Jean Howard
Art Jarrett
Isabel Jewell

Otto Kruger
Jay Lloyd
Myrna Loy
Ben Lyon

Jeanette MacDonald
Mala

Margaret McConnell
Florine McKinney
Una Merkel
Robert Montgomery
Polly Moran
Frank Morgan
Karen Morley
Ramon Novarro
Laurence Olivier
Maureen O'Sullivan
Earl Oxford
Jean Parker
Jack Pearl
Nat Pendleton
Esther Ralston
May Robson
Shirley Ross
Ruth Selwyn
Norma Shearer
Martha Sleeper
Mona Smith
Lewis Stone
Franchot Tone
Lupe Velez
Johnny Weissmuller
Ed Wynn
Diana Wynyard
Robert Young

Universal City, Calif.

Universal Studios

Robert Allen
Vilma Banky
Vince Barnett
Andy Devine
Louise Fazenda
Sterling Holloway
Leila Hyams
Buck Jones
Boris Karloff
Jan Kiepura
Evalyn Knapp
June Knight
Paul Lukas
Mabel Marden

Ken Maynard
Chester Morris
Charlie Murray
ZaSu Pitts
Roger Pryor
Claude Rains
George Sidney
Onslow Stevens
Gloria Stuart
Margaret Sullavan
Slim Summerville
Luis Trenker
Alice White

Burbank, Calif.

Warners-First National Studios

Loretta Andrews
Mary Astor
Robert Barrat
George Blackwood
Joan Blondell
Joe E. Brown
Lynn Browning
James Cagney
Hobart Cavanaugh
Ricardo Cortez
Bette Davis
Claire Dodd
Ann Dvorak
Patricia Ellis
Glenda Farrell
Philip Faversham
Helen Foster
Kay Francis
Geraine Grear
Hugh Herbert
Ann Hovey
Leslie Howard
Alice Jans
Allen Jenkins
Al Jolson
Paul Kaye
Ruby Keeler
Guy Kibbee
Esmond Knight

Lorena Layson
Hal LeRoy
Margaret Lindsay
Marjorie Lytell
Aline MacMahon
Helen Mann
Frank McHugh
Adolplie Menjou
Jean Muir
Paul Muni
Theodore Newton
Pat O'Brien
Henry O'Neill
Edwin Phillips
Dick Powell
William Powell
Phillip Reed
Edward G. Robinson
Barbara Rogers
Kathryn Sergava
Barbara Stanwyck
Lyle Talbot
Sheila Terry
Genevieve Tobin
Gordon Westcott
Renee Whitney
Warren William
Pat Wing
Donald Woods

Lloyd Hughes, 616 Taft Bldg.. Hollywood, Calif.

Harold Lloyd, 6640 Santa Monica Blvd., Hollywood,

Calif.

Neil Hamilton, 9015 Rosewood Ave., Los Angeles.

Calif.

COLDS

Go Overnight

When You Take This Famous
Tablet in Time

BEWARE the cold that hangs on. It may end
in something serious. Treat a cold promptly
and treat it for what it is — an internal infection
— and you will get results overnight.

Never let a cold go 24 hours untreated. At the
first sign of a cold, take Grove's Laxative Bromo
Quinine. This famous tablet stops a cold quickly
because it is expressly a cold remedy and be-
cause it does the four things necessary.

These Four Effects

This is the treatment a cold requires and any-
thing less is taking chances.

Grove's Laxative Bromo Quinine is utterly
harmless and perfectly safe to take. It is, and
has been for years, the leading cold and grippe
tablet of the world.

Now — 20% More for Your Money

Grove's Laxative Bromo Quinine comes in
two sizes — 30c and 50c — and is sold by every
drug store in America.
Buy the 50c size as it gives
you 20% more for your
money. Always ask for it
by the full name and look
for the letters LBQ
stamped on every tablet.
Dealers who offer a -sub-
stitute are looking more to
a profit than your welfare.

A Cold is on
Internal Infection

and Requires
Internal Treatment

GROVE'S LAXATIVE

BROMO QUININE

120

Photoplay Magazine for March, 1934

Why have

GRAY HAIR?

(

Test Bottle \
FREE )

Have young - looking
hair instead of gray.
This way SAFE. Test it
Free — no risk — no ex-
pense. Complete Test
Package proves results.

Comb colorless liq-
uid through hair. Gray
vanishes. Lustrous col-
or comes — black, brown, auburn, blonde.
Won't rub off on clothing. Leaves hair soft.
Get full-sized bottle from druggist. Money
back guarantee. Or we'll send Free Test.
Snip off a lock of hair. Try
Make this test nrst on this. Prove results.

Fwm •_, _, Millions have sent for this
IK Wa Wi test- Mail coupon for FREE
TEST PACKAGE.

-MARY T. GOLDMAN — ,

2418 Goldman Bldg., St. Paul, Minn.

Street.

City

Color of your hair?.

Sta

$4.50

DR. WALTER'S

famous flesh colored gum rubber
reducing garments.
LATEST BRASSIERE reduces
2 to 3 inches at 'nice Gives a trim.
youthful, new style figure.

Send bust measure $2.25

REDUCING GIRDLE: 2 to 3 inch
reduction at once. Takes place of
corset. Beautifully made: very com-
fortable. Laced at hack. Send

waist and hip measures $4.50

My flesh colored medi-
cated rubber hose re-
lieve swelling and vari-
cose veins almost at
once. Fit like a glove. .
Send ankle and calf
measures.
14 inch $6.75 pair
11 inch $3.75

All garments are made ofpure irum rub-
ber— flesh colored. Write foi literature.
Send check or money order — no cash.

Dr. Jeanne P. H. Waller. 389 Fiflh Ave.. N. Y.

¥ '•>

■

1 1

<
1

■

■ :.

/ 1

jgztf

Perfumes

{Exquisite new odors)
CUBTLE, fascinating, alluring. Sells
'-' regularly for $12.00 an ounce.
Made from the essence of flowers: —
A single drop <\p»s/ nij/v

lasts a week! ^'^ 0mJ
Three odors:

(1) Romanza

(2) Lily ot the Valley

(3) Esprit de France
To quickly introduce these new per-
fumes I'll send you with my compli-
ments ttial bottles of all three for
only 30c (silver or stamps) to pay
for postage and handling. Only one
set to each new customer.

PAUL RIEGER
150 First St. San Francisco, Calif.

3<¥

Subscribe for

Photoplay

Turn

to page 5, this issue,

for

subscription rate, below table of

contents

DENISON'S

PLAYS

Musical Comedies, Oper-
ettas, Vaudeville Acts,
Minstrels, Comedy
Songs, Make-up Goods.
Catalog Free
T. S. Denison & Co. 623 S.Wabash, Dept.76, Chicago

5tof50 week at Home

I Grow Mushrooms in your cellar
_^/ shed. Experience unnecessary, we

tell you how. Big demand — write £*3j|
i today for free Mushroom Book
American Mushroom Industries, Ltd., Dept.425.Toronto.ontT

Casts of Current Photoplays

Complete for every picture reviewed in this issue

"ABOVE THE CLOUDS"— Columbia.— From

the story by George B. Seitz. Screen play by Albert
DeMond. Directed by Roy William Neill. The
cast: Scoop, Robert Armstrong; Dirk, Richard Crom-
well; Connie, Dorothy Wilson; Crusly, Edmund
Breese; Chandler, Morgan Wallace; Dolly, Dorothy
Revier; Mother, Bessie Barriscale; Mabel, Geneva
Mitchell; Speakeasy Owner, Luis Alberni; Doyle,
Sherry Hall.

"ALL OF ME" — Paramount. — From the play
"Chrysalis" by Rose Albert Porter. Screen play by
Sidney Buchman and Thomas Mitchell. Directed by
James Flood. The cast: Don Ellis, Fredric March;
Lyda Farrell, Miriam Hopkins: Honey Rogers, George
Raft; Eve Ilaron, Helen Mack; Mrs. Farrell, Nella
Walker; Jerry //a/ wuwJWilliam Collier, Sr.; The Dean,
Gilbert Emery; Miss Haskell, Blanche Friderici; Dis-
tricl Attorney, Guy Usher; Nat Davis, John Marston;
Guard, Edgar Kennedy; Lorraine, Kitty Kelly.

"CHARMING DECEIVER. THE"— Majestic
PICTURES. — From the story by Fred Thompson.
Screen play by Fred Thompson and Victor Kendall.
Directed by Monty Banks. The cast: Belly Smith,
Constance Cummings; Dorothy Kay, Constance Cum-
mings; Toby Tyrrell, Frank Lawton; Lil Pickering,
Binnie Barnes; Otis Dove, Gus McXaughton; Singer,
Iris Ashley; Reggie, Claude Hulbert.

"CRIMINAL AT LARGE " — Helber Pictures.

— From the story by Edgar Wallace. Directed by
T. Hayes Hunter. The cast: Lord Lebanon, Emlyn
Williams; Lady Lebanon, Cathleen Nesbitt; Chief
Inspector Tanner, Norman McKinnel; Sergeant Totty,
Gordon Harker; Sergeant Ferraby, Cyril Raymond;
Aisla Crane, Belle Chrystall; Dr. Amersham, D. A.
Clarke-Smith; Gilder. Percy Parsons; Brooks, F'inlay
Currie; Kelver, Julian Royce; Sliidd, Eric Roland.

"CROSS COUNTRY CRUISE"— Universal.—
From the story by Elmer Harris and Stanley Raugh.
Directed by Eddie Buzzell. The cast: Norman, Lew
Ayres; Sue, June Knight; May, Alice White; Steve,
Alan Dinehart; Nita, Minna Gombell; Bronson,
Eugene Pallette; The Grouch, Robert McWade; The

Italian, Henry Armetta; Murphy, Arthur Vinton;
Jim, Robert Allen; Sid, James Conlin; The Old Maid,
Ara Haswell; The Sick Man. Dick Stevens; Toots,
Peggy Terry; German Girl, Herta Lind; School Teacher,
Jean Fenwick; Wife of Henpecked Man, Kay La Velle.

"DAWN TO DAWN" — Cameron Macpherson
Prod. — From the story by Cameron Macpherson and
Josef Berne. Directed by Josef Berne. The cast: The
Girl. Julie Haydon; The Father, Ole M. Ness; The Boy,
Frank Eklof.

"EIGHT GIRLS IN A BOAT"— Paramount.—
From the story by Helmut Brandis. Screen play by
Casey Robinson. Directed by Richard Wallace. The
cast: Christa Storm. Dorothy Wilson; David Pen-in,
Douglass Montgomery; Hanna, Kay Johnson;
"Pickles," Barbara Barondess; Fran Kreuger, Ferike
Boros; Mr. Storm. Walter Connolly; Paul Lang, James
Bush; Smallman, Colin Campbell; Hortense, Peggy
Montgomery; Elizabeth, Margaret Marquis; Bohhy,
Marjorie Cavalier; Mary, Virginia Hall; Kalza, Kay
Hammond.

"FASHIONS OF 1Q.U"— First National.— From
the story by Harry Collins and Warren Duff. Adapted
by Gene Markey and Katliryn Scola. Screen play by
F. Hugh Herbert and Carl Erickson. Directed by
William Dieterle. The cast: Sherwood Nash, William
Powell; Lynn, Bette Davis; Snap, Frank McHugli;
The Duchess, Verrce Tcasdale; Baroque, Reginald
Owen; M. Soulier, Hobart Cavanaugh; Duryea, Henry
O'Neill; Jimmy, Phillip Reed; Joe Ward, Hugh Her-
bert; Harry, Gordon Westcott; Glenda, Dorothy Bur-
gess; Glass, Etienne Girardot; Feldman, William Bur-
res*; Mrs. Van Tyle, Nella Walker; Telephone Man,
Spencer Charters; Caponelli, George Humbert; Jules,
Frank Darien; Book-seller, Harry Beresford; Mnu.
Mar got, Helen Freeman.

"FLYING DOWN TO RIO"— RKO-Radio.—
From the story by Louis Brock. Screen play by Cyril
Hume, H. W. Hanemann and Erwin Gelsey. Directed
by Thornton Freeland. The cast: Belinda de Rezende,
Dolores Del Rio; Roger Bond, Gene Raymond; Don
Julio, Raul Roulien; Ginger Bell, Ginger Rogers; Fred

Russia comes to our shores in an enchanting form when England sends her
screen version of "Catherine the Great." Kalushka is played by Joan
Gardner, pretty enough to make anyone want to go native. Doug, Jr.,
czared in this picture, while Marlene Diatrich did another version of
Catherine in Hollywood

Ayres, Fred Astaire; Dona Elena, Blanche Friderici;

Senor de Rczende, Walter Walker: Colored Singer, Etta
Mo ten; Creek, Roy D'Arcy; Greek, Maurice Black;
Greek, Armand Kaliz; Mayor, Paul Porcasi; Banker,
Reginald Barlow.

"FOG" — Columbia. — From the story by Valen-
tine Williams and Dorothy Rice Sims. Screen play by
Ethel Hill and Dore Scliary. Directed by Albert
I The cast: Brown, Donald Cook; Mary, Mary
Brian; Dr. Winstar. Reginald Denny; Holt, Robert
McWade; Alva, Helen Freeman; Dickens, Samuel
Hinds; Mullaney, George Pat Collins; Captain, Edwin
Maxwell; Mrs. Jackson, Maude Eburne; Mrs. Benlley,
Marjorie Gateson.

"FOUR FRIGHTEXED PEOPLE"— Para-
mount.— From the story by E. Arnot-Robertson.
Screen play by Bartlett Cormack and Lenore Coffee.
Directed by Cecil B. DeMille. The cast: Judith
Jones. Claudette Colbert; Arnold Ainger, Herbert
Marshall; Mrs. Mar dick. Mary Boland; Stewart Car-
der, William Gargan; Montague, Leo "Carrillo; Mrs.
Ainger, Xella Walker; Native Chief, Tetsu Komai;
Boatman. Chris Pin Martin; Native, Joe de la
Cruz; First Sakai, Minoru Xisheda; Second Sakai,
Teru Shimada; Third Sakai. E. R. Jinadas; Fourth
Sakai, Delmar Costello.

••FUGITIVE LOVERS"— M-G-M.— From the
story by Ferdinand Reyher and Frank Wead. Screen
play by Albert Hackett, Frances Goodrich and George
B. Seitz. Directed by Richard Boleslavsky. The
cast: Porter, Robert Montgomery; Letty, Madge
Eyans; Withinglon, Ted Healy; "Legs." Xat Pendle-
ton; Daly, C. Henry Gordon; Babe, Ruth Selwyn;
Three Julians, Larry Fine, Moe Howard, Jerry
Howard.

"GOIXG HOLLYWOOD'— M-G-M.— From the
story by Frances Marion. Screen play by Donald
Ogden Stewart. Directed by Raoul Walsh. The cast:
Sylvia Bruce, Marion Davies; Bill Williams, Bing
Crosby; Lili Yvonne, Fifi Dorsay; Ernest B. Baker,
Stuart Erwin; Conroy. Xed Sparks; Jill, Patsy Kelly;
Thompson, Bobby Watson. Also : Three Radio Rogues.

"HIPS, HIPS, HOORAY"— RKO-Radio.— From
the screen play by Harry Ruby. Bert Kalmar and
Edward Kaufman. Directed by Mark Sandrich. The
cast: Bert, Bert Wheeler; Bob, Robert Woolsey; Ruth
Etling, Ruth Etting; Miss Frisby, Thelma Todd;
Daisy, Dorothy Lee; Beauchamp, George Meeker;
Mulligan, James Burtis; Sweeney, Matt Briggs; Mr.
Clark, Spencer Charters.

"HIS DOUBLE LIFE" — Paramount. — From

the novel "Buried Alive" and the play "The Great
Adventure" by Arnold Bennett. Directed by Arthur
Hopkins. The cast: Alice, Lillian Gish; Priam Farrel,
Roland Young; Duncan Farrel, Montagu Live; Ox-
ford, Lumsden Hare; Mrs. Leek, Lucy Beaumont;
Witt, Charles Richman; Leek Twins, Oliver Smith and
Philip Tonge; Henry Leek, Roland Hogue; Lady
Helen, Audrey Ridgewell.

"I AM SUZANNE!"— Fox. — From the screen
play by Rowland V. Lee and Edwin Justus Mayer.
Directed by Rowland V. Lee. The cast: Suzanne,
Lilian Harvey; Tony, Gene Raymond; Baron, Leslie
Banks; Mama, Georgia Caine; Fiji, Geneva Mitchell;
Dr. Lorenzo, HalliwellHobbes;L«/gj, Murray Kinnell;
Manager, Edward Keane. Also: Podrecca's Pic-
coli Marionettes.

"I LIKE IT THAT WA Y " — Universal. — From

the story by Harry Sauber. Screen play by Chandler
Sprague and Joseph Santley. Directed by Harry
Lachman. The cast: Anne Rogers, Gloria Stuart;
Jack Anderson, Roger Pryor; Joan Anderson, Marian
Marsh; Peggy, Shirley Grey; Mrs. Anderson, Lucille
Gleason; Sluart, Noel Madison; Trixie, Gloria Shea;
Elsie, Mae Busch; Information Girl, Merna Kennedy;
The Professor, Clarence Wilson; Pupil. Eddie Grib-
bon; Messenger Boy, Mickey Rooney; Harry Rogers,
John Darrow.

"KADETTEN" ("Cadets") — Reichsligafilm
Prod. — Directed by George Jacoby. The cast
General von Zeddin, Albert Bassermann; Helene, Trude
von Molo; Rudolf, Franz Fiedler; Der Richter, Fried-
rich Kayssler; Riltmeister von Mallzahn, Johannes
Riemann; Hauptmann Berra, Paul Otto; Hilda, Ellen
Schwannecke; I'ok Brunning, Hans Zecht- Ballot;
Mueller,]. Mylong-Munz; YonZerbilz, Karl Ballhaus.

"LAST ROUND-UP, THE"— Paramount —

From the story by Zane Grey. Screen play by Jack
Cunningham. Directed by Henry Hathaway. The
cast: Jim Close, Randolph Scott; Joan Randall, Bar-
bara Fritchie; Jack Kelts, Monte Blue; Sam Gulden,
Fred Kohler; Bunko McGee, Fuzzy Knight; Judge
Savin, Richard Carle; Charley Benson, Barton Mac-
Lane; Sheriff, Charles Middleton; Shrimp, Frank
Rice; Rush, Dick Rush; Old Man Tracy, Buck Con-
nors; Scarface, Bob Miles; First Miner. Sam Allen;
Second Miner, Ben Corbett; Bartender, Jack Holmes;
First Outlaw, Jim Corey ; Second Outlaw, James Mason.

"LETS FALL IN LOVE"— Columbia — From
the screen play by Herbert Fields. Directed by David
Burton. The cast: Ken, Edmund Lowe; Jean, Ann
Sothern; Gerry, Miriam Jordan; Max, Gregory RatofT;
Lisa, Greta Meyer; Allen, Anderson Lawlor; Forsell,
Tala Birell; Xellie, Ruth Warren; Svente, John
Qualen; Composer, Arthur Jarrett; Agatha, Marjorie

Photoplay Magazine tor March. 1934

Gateson: Archie, Miles Welch: Roy, Kane Richmond;
Ethel Clayton; Secretary, Lorin Raker; Barton.
Selmer Jackson; Garland. Charles Giblyn; Trent,
Michael Visaroff; Roland. Edwin Stanley.

121

WESTERN

"MADAME SPY"— Universal.— From the play

"Unter False Flagge" by Max Kimmich. Screen play
by William Hurlbut. Directed by Karl Freund. The
cast: Maria, Fay Wray; Cap/. Franck, Nils Asther;
Schultz, Edward Arnold; Weber, John Miljan; See-
feldt, David Torrence; Karl, Douglas Walton; Pahlke,
Oscar Apfel; Peter, Yince Barnett; Sulkin, Robert
Ellis; Lulu, Mabel Marden: Petroskie, Alden Chase;
Baum, Rollo Lloyd.

"MAX OF TWO WORLDS"— RKO-Raoio.—
From the story by Ainsworth Morgan. Screen play by
Howard J. Green and Ainsworth Morgan. Directet
by J. Walter Ruben. The cast: Aigo, Francis Led-
erer; Joan, Elissa Landi; Sir Basil, Henry Stephenson;
Michael. J. Farrel] MacDonald; Eric Pager, Walter
Byron; Tim, Forrester Harvey; Dr.Lott, Ivan Simp-
son ;C a pi. Swan, Lumsden Hare: Guinana, Steffi Duna;

Sarah Padden; Knuason, Christian Ru
Natkusiak, Emile Chautard; Mrs. S'alusiak, Gertrud
Wise.

"MARRIAGE OX APPROVAL"— Freuler

Film. — From the story by Priscilla Wayne. Adapted
by Olga Printzlau. Directed by Howard Higgin. The
cast: Barbara Kent. William Farnum, Leila Mclntyre,
Donald Dillaway, Edward Woods. Dorothy Granger.
Phyllis Barry, Otis Harlan, Lucille Ward and
Clarence Geldert.

"MASSACRE" — First National.— From the
story by Robert Gessner and Ralph Block. Screen
play by Ralph Block and Sheridan Gibney. Directed
by Alan Crosland. The cast: Joe Thunder Horse,
Richard Barthelmess; Lydia, Ann Dvorak; Quissen-
berry, Dudley Digges; Dickinson, Henry O'Neill;
Cochran, Wallis Clark; Norma, Claire Dodd; Charles
Moffitt, George Blackwood; 5am, Clarence Muse;
Dawson, Robert Barrat; Grandy, William V. Mong;
Jake, Tully Marshall; Dr. Turner, Arthur Hohl;
Jennie, Agnes Maicho; Adam, James Eagles; Judge
Eldridge, Samuel Hinds; Scatters, Charles Middleton;
Shanks, Sidney Toler ; Missionary, Frank McGlynn, Sr.

"MEANEST GAL IN TOWN, THE"— RKO-
Radio. — From the story by Arthur Horman. Screen
play by Richard Schayer, Russell Mack and H. W.
Hanemann. Directed by Russell Mack. The cast:
Tillie, ZaSu Pitts; Lulu. Pert Kelton; Chris, El
Brendel; Duke, James Gleason; Jack, Richard "Skeets"
Gallagher; Clark, Edward McWade.

"MISS FANE'S BABY IS STOLEN "—Para-
mount.— From the story by Rupert Hughes. Screen
play by Adela Rogers St. Johns. Directed by Alex-
ander Hall. The cast: Miss Madeline Fane, Dorothea
Wieck, Mrs. Molly Prentiss, Alice Brady; Michael
Fane, .Baby LeRoy; Captain Murphy, William Fraw-
ley; MacCready, George Barbier; Sam, Alan Hale;
Bert, Jack LaRue; Dolly, Dorothy Burgess; Agnes,
Florence Roberts; Joel Prenltss, Irving Bacon; Johnny
Prentiss. George "Spanky" McFarland; Judge, Edwin
Maxwell; Chief of Police, Charles Wilson.

"MOULIN ROUGE"— 20th Century-United
Artists. — From the story by Lajon de Bri. Screen
play by Nunnally Johnson and Henry Lehrman.
Directed by Sidney Lanfield. The cast: Helen, Con-
stance Bennett; Douglas, Franchot Tone; LeMaire,
Tullio Carminati; Mrs. Morris, Helen Westley;
Ml Bride, Andrew Toombes; Joe, Russ Brown; Drunk,
Hobart Cavanaugh; Frenchman, Georges Renavent;
Eddie, Fuzzy Knight; Ramon, Ivan Lebedeff.

"NANA" — Samuel Goldwyn-Untted Artists. —
From the novel by Emile Zola. Screen play by Willard
Mack and Harry Wagstaff Gribble. Directed by
Dorothy Arzner. The cast: Nana, Anna Sten; Ll.
George Muffat, Phillips Holmes; Col. Andre Mujfat,
Lionel Atwill; Greiner, Richard Bennett; Satin, Mae
Clarke; Mimi, Muriel Kirkland; Bordenave, Reginald
Owen; Zoe, Jessie Ralph; Grand Duke Alexis, Law-
rence Grant.

"ORIEXT EXPRESS"— Fox.— From the story
by Graham Greene. Screen play by Paul Martin,
Carl Hovey and Oscar Levant. Directed by Paul
Martin. The cast: Coral Musker, Heather Angel;
Carlton Myall, Xorman Foster; Dr. Czinner, Ralph
Morgan; Mr. Peters. Herbert Mundin; Mrs. Peters,
Una O'Connor; Janet Pardoe, Irene Ware; Mabel
Warren, Dorothy Burgess; Anna, Lisa Gora; Con-
ductor, William Irving; Josef Grunlich, Roy D'Arcy;
Major Petkovich, Perry Ivans; Colonel Ilartep, Fredrik
Vogeding; Lieut. Alexitch, Marc Lobell.

" PALOOKA " — Reliance-United Artists. —
From the story based on the comic strip by Ham
Fisher. Screen play by Gertrude Purcell. Jack Jevne
and Arthur Kober. Directed by Benjamin StolorT.
The cast: Knobby Walsh, Jimmy Durante; Nina
Madero, Lupe Velez; Joe Palooka, Stuart Erwin;
Mayme Palooka, Marjorie Rambeau; Pete Palooka.
Robert Armstrong; Anne, Mary Carlisle; Al M, S
William Cagney; Trixie, Thelma Todd; Doc Wise,
Franklyn Ardell; Whiley, Tom Dugan; Slats, Guinn
Williams; Blacky, Stanley Fields.

"POOR RICH. THE"— Universal.— From the
story by Ebba Havez. Screen play by Ebba Havez

AfATIONS

Now you CAN see the
wonders of the West.
The cost is literallv the
LOWEST EVER. 'Rail
tares have been drastically-
reduced. Hotel rates and
sightseeing costs are down.

This summer, see the West
in all its irresistible glory.

Zion-Bryce-Grand Canyon

Yellowstone-Grand Teton

Rocky Mountain National Parks

Colorado

California and Hawaii

Pacific Northwest and Alaska

Western Dude Ranches

Boulder Dam

Union Pacific serves more
of the scenic West than
any other railroad. Write
us today for the inter-
esting details.

Use this
coupon

I 1

Mr. W. S. Basinger, Pass'r Traffic Mgr.

Room 9, Union Pacific Railroad

Omaha, Nebr.

Please send me information about Vacations

Name.
Street.
City..

.State.

UNION
PACIFIC

-rr-ir-m i

Ask for Descriptive literature of "Tomorrow! Train Toda\ "

122

"vs no k>nget sa
Cheeks ao

IT'S wonderful what a difference it makes
in the way you feel and look when you
keep internally clean. Thousands of women
thank Dr. Edwards for his little Olive Tab-
lets ... a wonderful substitute for calomel
and so much safer. Try them and see if you
don't see the difference in fresh, smooth
cheeks and lovely skin.

"The Internal Cosmetic"

Used for over 20 years by women who want
relief for blemishes and pimples caused by
sluggish liver or constipation. See and feel
how this tested vegetable compound helps
you to rid yourself of that tired, dull, life-
less feeling. Try this! For two weeks take
one each evening. Ask for them at any drug
store, know them by their olive color. Dr.
Edwards Olive Tablets . . . 15f$, 3<#, 6(tf.

Photoplay Magazine for March, 1934

and Dale Van Every. Directed by Edward Sedgwick.
The cast: Albert, Edward Everett Horton; Harriet,
Edna May Oliver; Andy, Andy Devine; Grace, Leila
Hyams; Tom, Grant Mitchell; Gwendolyn, Thelma
Todd; Lady Featherstone, Una O'Connor; LordFealher-
stone, E. E. Clive; Abdul, Andre Beranger; Arbuthnol,
Sidney Bracy; Station Agent, Jack Clifford; Tony,
Henry Armetta; Motor Cop, Ward Bond.

"POPPW THE CORK "—Fox-Educational —
From the story by Harold Atteridge. Directed by
Jack White. The cast: Milton Berle, Norma Taylor,
Mary Cole and Gertrude Mudge.

"QUEEN CHRISTINA"— M-G-M— From the
story by Salka Viertel and Margaret P. Levino.
Screen play by H. M. Harwood and Salka Viertel.
Directed by Rouben Mamoulian. The cast: Christina,
Greta Garbo; Antonio, John Gilbert; Magnus, Ian
Keith; Oxenstierna, Lewis Stone; Ebba, Elizabeth
Young; Aage, C. Aubrey Smith; Charles, Reginald
Owen; French Ambassador, Georges Renavent; Arch-
bishop, David Torrence; General, Gustav von Seyf-
fertitz; Innkeeper, Ferdinand Munier.

Blondes

why be blind?

Don't shut your eyes to the fact that blonde hair
requires special care. Its texture is so delicate that
ordinary shampoo methods may cause it to fade,
streak or darken.

Yet now it's easy tokeep blonde hair al wayslovely .
For there is a wonderful shampoo, called Blondex,
especially made for blonde hair only, that will bring
out all its rich, golden beauty. Helps keep light hair
from darkening. Brings back the true golden sparkle
to dull, dark, faded and streaked blonde hair. Not a
dye. No harmful chemicals. Leaves hair soft, fluffy,
silky. Used by millions of blondes.

FREE— Trial package

To get a generous trial package of Blondex entirely
free, just send your name and address to Swedish
Shampoo Laboratories, Dept.233,27 West 20th St.,
NewYorkCity. OryoucanbuyBlondexatany iJJRAr
good drug or department store — either the Jjf.
economical $1.00 bottle or inexpensive 25c size. *£InL

ates: Lee Tracy. Pesey Sha
Joiiann, Mary Pickford, etc. Drama,
Opera. Personal Development. Culture.
anceo while learning. For catalog,
85th St., N. Y.

. Fred Aetaire, Cm Merke

. Lu

Dance. Speech. Musical Cr

medy.

Stock Theatre Traininc D

• rite Sec'v ERWIN, 66

West

"SAGEBRUSH TRAIL" — Monogram.— From
the story by Lindsley Parsons. Directed by Armand
Schaefer. The cast: John Brant, John Wayne; Bob
Jones, Lane Chandler; Sally Blake, Nancy Shubert;
Ed Walsh, Yakima Canutt; Sheriff Parker, Robert
Burns; Deputy Sheriff, Wally Wales; Dad Blake,
Henry Hall; Blind Pete, Bill Dwyer; Henchman, Art
Mix.

"SEARCH FOR BEAUTY, THE"— Paramount.
— From the story by David Boehm and Maurine
Watkins. Screen play by Frank Butler and Claude
Binyon. Directed by Erie C. Kenton. The cast: Don
Jackson, Larry "Buster" Crabbe; Barbara Hilton, Ida
Lupino; Sally, Toby Wing; Dan Healey, James Glea-
son; Larry Williams, Robert Armstrong; Jean Strange,
Gertrude Michael; Newspaper Reporter, Roscoe Karns;
Susie, Verna Hillie; Caretaker, "Pop" Kenton; Rev-
erend Rankin, Frank McGlynn, Sr. Also: Thirty
winners of the International Beauty Contest.

"SIN OF NORA MORAN, THE"— Majestic
Pictures. — From the play by Willis Maxwell Good-
hue. Screen play by Francis Hyland. Directed by
Phil Goldstone. The cast: Nora Moran, Zita Johann;
John Grant, Alan Dinehart; Bill Crawford, Paul
Cavanagh; Paulino, John Miljan; Mrs. Crawford,
Claire Dubrey; Mrs. II'o//s, Sarah Padden; Father

Ryan, H. B. Walthall; Nora 'child), Cora Sue Collins;
Mrs. Moran, Aggie Herring; Mr. Moran, Otis Harlan.

"SON OF KONG, THE"— RKO- Radio.— From
the story by Ruth Rose. Directed by Ernest B.
Schoedsack. The cast: Robert Denham, Robert Arm-
strong; Hilda, Helen Mack; Englehorn, Frank
Reicher; Helslrom, John Marston; Chinese crew mem-
ber, Victor Wong; Mickey, Lee Kohlmar; Red, Ed
Brady; Peterson, Clarence Wilson; Mrs. Hudson,
Katherine Claire Ward; Girl Reporter, Gertrude
Short; Servant girl, Gertrude Sutton; Chinese trader,
James B. Leong; Native chief, Noble Johnson; Witch
King, Steve Clemente; Process server, Frank O'Connor.

"SONS OF THE DESERT"— Hal Roach-
M-G-M. — From the story by Frank Craven and
Byron Morgan. Directed by William A. Seiter.
The cast: Stan Laurel, Stan Laurel; Oliver" H ar dy ,
Oliver Hardy; Charley Chase, Charley Chase; Mrs.
Hardy, Mae Busch; Mrs. Laurel, Dorothy Christy;
The Doctor, Lucien Littlefield.

"TWO ALONE"— RKO- R\mo.— From the play
"Wild Birds" by Dan Totheroh. Screen play by
Josephine Lovett and Joseph Moncure March.
Directed by Elliott Nugent. The cast: Mazie, Jean
Parker; Adam, Tom Brown; Esthey, ZaSu Pitts;
Slag, Arthur Byron; Mrs. Slag, Beulah Bondi; Corie,
Nydia Westman; Marshal, Willard Robertson;
Sandy, Charles Grapewin; Milt, Emerson Treacy;
Sheriff, Paul Nicholson.

"WHEELS OF DESTINY"— Universal.— From
the story by Nate Gatzert. Directed by Alan James.
The cast: Ken Manning, Ken Maynard; Mary,
Dorothy Dix; Rocky, Philo McCullough; Pinwhecl,
Frank Rice; Bill, Jay Wilsey; Dad, Ed Coxen;
"Scalp-em- Alive," Fred Sale, Jr.; Red, Fred Mackaye;
Ed, Jack Rockwell; Deacon, William Gould; Trapper,
Nelson McDowell; Tarzan, Tarzan.

"WOMAN'S MAN, A" — Monogram. — From the
story "The Great God Fourflush" by Adela Rogers
St. Johns. Adapted by Frances Hyland. Directed
by Edward Ludwig. The cast: Tom Cleary, John
Halliday; Gloria Jordan, Marguerite de la Motte;
Joe Flynn, Wallace Ford; Molly Evans, Kitty Kelly;
Roger W. Pentley, Jameson Thomas; Pete Miller,
Tom Dugan, Ralph Mallon, Wallis Clark; Walter
Payson, Don Douglas; Crane, Leigh Allen; Assistant
Director, George Mayo; Fight Announcer, Harry
Green; Joe Ferrera, Jack Perry; Blonde, Billie Van
Every.

Lots of Iowans go to California, but Margaret Lindsay is the only one we
know who got there via the English stage. Born in the tall-corn state, she
got her big break in pictures ("Cavalcade") because of her perfect English
accent. Margaret's latest is "Lady Killer," the Jimmy Cagney film

Photoplay Magazine for March, 1934

Brief Reviews of
Current Pictures

[ CONTINUED FROM PAGE 17 ]

MASTER OF MEN— Columbia.— Both the plot
and the dialogue are old. But there's a good cast,
including Jack Holt, as the mill hand who rises to
financial power; Fay Wray, his wife; Walter Con-
nolly, Theodore Von Eltz, Berton Churchill. (Feb.)

MEET THE BARON— M-G-M.— Jack Pearls
film version of his radio nonsense about Baron Mun-
chausen. Grand support; often hilarious. (Dec.)

MIDSHIPMAN JACK— RKO-Radio.— A color-
ful story of Annapolis and a careless midshipman who
makes good. Bruce Cabot, Betty Furness, Frank
Albertson, others. (Dec.)

• MOONLIGHT AND PRETZELS— Univer-
sal.— Leo Carrillo, Lillian Miles, Roger Pryor,
Mary Brian, in a musical. Familiar theme but ex-
cellent numbers. ( Nov.)

MR. SKITCH— Fox.— The trip West in the
family rattler of Mr. and Mrs. Skiich (Will Rogers
and ZaSu Pitts) provides laughs galore. Florence
Desmond's impersonations are grand. (Feb.)

MY LIPS BETRAY— Fox.— A musical comedy
kingdom in which cabaret singer Lilian Harvey falls
in love with king John Boles, and is loved by him.
El Brendel. Fair. (Jan.)

MY WOMAN— Columbia.— Wally Ford gets a
radio break when his wife, Helen Twelvetrees, vamps
Victor Jory into the idea. But success goes to Wally 's
head; he loses his job — and his wife. (Jan.)

• MY WEAKNESS— Fox.— Lilian Harvey as a
Cinderella coached by Lew Ayres to catch his
rich uncle's son, Charles Butterworth. Charles is a
riot. (Dec.)

MYRT AND MARGE— Universal.— Two popular
radio stars do their stuff for the movies; an amusing
little musical. (Nov.)

NO MARRIAGE TIES— RKO-Radio.— Richard
Dix as a brilliant sot who makes good in advertising,
with Elizabeth Allan clinging to him. Good Dix
stuff. (Sept.)

OLSEN'S BIG MOMENT— Fox— El Brendel is
not only a janitor, but a matchmaker and a caretaker
for an intoxicated bridegroom. Plentv of laughs.
Walter Catlett and Barbara Weeks. (Jan.)

ONE YEAR LATER— Allied.— Melodrama that
turns a slow start into a good finish. Mary Brian
and Donald Dillaway. (Oct.)

• PADDY, THE NEXTBESTTHING— Fox —
Janet Gaynor in a whimsical, delightful storv
of an Irish madcap girl who doesn't want big sister
Margaret Lindsay forced to marry rich planter
Warner Baxter. (Nov.)

I23

HER
SECRET

Keeps you up
to the minute

... as it does your favor-
ite stars. Camera con-
scious, they select HER
SECRET, the brassiere de-
signed in Hollywood,
which gives elusive per-
fection of contour. Flat-
tering to every figure, yet
with comfort — for this
dainty, backless uplift
brassiere while gently
molding, affords utmost
freedom.

For sale at leading de-
partment stores and spe-
cialty shops.

SHIRLEY MAXWELL, LTD.

No-Bak Brassiere
6741 Hollywood Blvd.
HOLLYWOOD, CALIFORNIA

Posed by Phyllis Barrington, featured stage and screen player.
Photographed in Hollywood by Dick ll'hittington.

The

SHERRY-NETHERLAIND

"Private Homes" By-the-Day

The smarter overnight home in New York . . . and so much
pleasanter than the usual hotel! Charming two-room suites,
with living-room, bedroom, dressing-room, serving pantry.

FIFTH AVENUE AT S9TH STREET • ON CENTRAL PARK ■ NEW YORK

124

Photoplay Magazine for March, 1934

LOS ANGELES

TOWN
HOUSE

INVITES INQUIRIES FROM
THOSE PLANNING A TRIP
TO SOUTHERN CALIFORNIA

WERNER HARTMAN MANAGER

THE SMART HOTEL OF
SOUTHERN CALIFORNIA

Learn

PHOTOGRAPHY

and have a profitable vocation

in,, !.. ,, |i,

1 1

IMtl --I "I ,n

ir II Stuiij

. Sew

. Porln.il

nipln

In- 1 klel

New York Institute of Photography

I
10 Aesl 33 Street. Depi. 37E, New York City

Women!

End Worry and
Uncertainty

PAIR»0°O°€EN

Feminine Hygiene Tablets

PAR-I-O-GEN is a tested, scientificformula, which provides
safe, convenient, immediate hygienic protection Women
everywhere have been quick to recognize and accept it as a
welcome innovation in acquiring antiseptic cleanliness.

NO WATER REQUIRED

PAR-I-O-GEN tablets dissolve in the natural secretions

forming a strong chlorinesolution which cestrcyf gernsin a

few moments. Yet, unlike poisonous, burning acidsolutiots,

they are soothing and harrrless to the ir, Ft delii atel

No water or other accessories are needed. Odorless, stain.ess,

greaseless.

Send for Trial Box! So you may try this modern feminine

necessity, we offer a special trial box of WRITE FOR

rive tablets, conveniently packaged for

travel or home use. with FREE booklet

on their need and use, for only

fifty cents (stamps or coin),

postpaid. Try them once aid>

you will never be without them. \\ r,K$.v3

American Drug and Chemical ( !o,

420 So. 6th St., Minneapolis, Minn
I enclose 50c for a trial box of five
PAR-I-O-GEN tablets with instructions,
in plain wrapper.

Name.

Address.

• PENTHOUSE— M-G-M.— Standard melodrama
about a "high life" murder, but thrillingly done
by Warner Baxter, C. Henry Gordon, Myrna Loy,
Phillips Holmes, Mac Clarke, and others. (Nov.)

PICTURE BRIDES— Allied.— Scarlet sisters,
diamond miners, and not much else. (Dec.)

POIL DE GAROTTE fTHE RED HEAD)—

Pathe-Natan. — Redhead Robert Lynen splendid as
the lonely boy who tries to hang himself. English
captions. (Sept.)

POLICE CALL — Showmens Pictures.— Wild ad-
ventures in Guatemala; a mediocre film. ( Nov.)

POLICE CAR 17— Columbia.— Tim McCoy, in a
radio squad car. chases .1 crook, and winds up in
marriage with Evalyn Knapp, daughter of the police
lieutenant. Just so-so. (Jan.)

POWER AND THE GLORY, THE— Fox-
Ralph Morgan relates the life story of his friend the
railroad president (Spencer Tracy). Colleen Moore
"comes back" in this. Unusual and good. (Sept.)

• PRIVATE LIFE OF HENRY VIII, THE—
London Film-United Artists. — Charles Laugh-
ton superb and also gorgeously funny as the royal
Bluebeard; photography is inspired. (Dec.)

• PRIZEFIGHTER AND THE LADY, THE
— M-G-M. — With Myrna Loy to make love to,
and Camera to fight, Max Baer is the hero of one of
the b'-st ring pictures yet made. He'll challenge any
lady-killer now. (Jan.)

QUATORZE JUILLET ("JULY 14")— Protex
Pictures. — A taxi driver and a girl enjoy the French
national holiday together. The comedy can be better
appreciated by those who know French. Fair. (Jan.)

RETURN OF CASEY JONES, THE— Mono-
gram.— A disjointed railroad melodrama. (Sept.)

• RIGHT TO ROMANCE, THE— RKO-
Radio. — Ann Harding, a plastic surgeon, tired
of success and eager foi love and adventure, marries
playboy Robert Young, while constant doctor ad-
rni, 1 Nils Asther patiently awaits the outcome.
Sophisticated. (Feb.)

• ROMAN SCANDALS— Samuel Goldwyn-
l riited Artists. — Quite different from the
ordinary musical. With Eddie Cantor and a bevy
of beauties; Ruth Etting of radio fame; some lavish
dance ensembles, and a chariot race that's thrilling
to the finish. (Feb).

SATURDAY'S MILLIONS— Universal— Foot-
ball hero Robert Young thinks the game a racket, but
linds it isn't. Bnglit and fast. (Dec.)

SECRET OF THE BLUE ROOM, THE— Uni-

vi 1 sal. —Well-sustained melodrama about a sealed

i deadh room. Gloria Stuart, William Janney,

Paul l.ukas, Onslow Stevens. (Sept.)

SHANGHAI MADNESS -Fox —Melodrama in
( hina; Spencer Tracy, Eugene Pallette, Fay W'ray.
I„ ttei than the story. (Ntn .)

SHEPHERD OF SEVEN HILLS, THE— Faith
] ictures. — A finely done camera visit to ii,<- Vatican,
with seines showing Pope Pius XI. (Nov.)

SHOULD LADIES BEHAVE?— M-G-M.— (Re-
viewed under title "The Vinegar Tree.") — Mary
( arlisle won t listen to reason when her parents, Alice
Brady and Lionel Barrymore, try to keep her from
marrying suave Conway Tearle. Amusing. (Jan.)

SING SINNER SING — Majestic Pictures. —
Torch singer Leila Hyams tries to reform hubby
Don Dillaway. Paul Lukas, George Stone also in
cast. So-so. (Oct.)

SITTING PRETTY— Paramount.— Five popular
songs do much for this musical. Song writers Jack
Oakie and Jack Haley meet Ginger Rogers as they
hitch-hike to Hollywood. Entire cast splendid.
Fan dance finale at end. effective. (Feb.)

SKYWAY — Monogram. — A humdrum thriller
about an airplane pilot, plaved by newcomer Ray
Walker. (Oct.)

SLEEPLESS NIGHTS— Remington Pictures —
The old farce idea of a man and girl supposed to be
married, and thrust into bedrooms accordingly; but
it's better than most British attempts at humor.
{Oct.)

SMOKY— Fox.— The life story of Will James'
wild colt "Smoky." from colthood to "old age."
Victor Torv turns in a good perfoimance as bronc-
buster. (Feb.)

SOLITAIRE MAN, THE— M-G-M.— Crooked
doings in an airplane. Herbert Marshall, Lionel
Atwill, and Mary Boland as a screamingly funny
American tourist. ( Nov.)

SON OF A SAILOR— First National.— Joe E.

Brown has a weakness for gold braid and pretty girls
including Thelma Todd. Good, clean fun. (Jan.}

SONG OF SONGS, THE— Paramount.— A once-
thrilling classic about artist-model Marlene Dietrich,
deserted by artist Brian A heme, and married to
blustering baron Lionel Atwill. Charming; not stir-
ring. (Sept.)

S. O. S. ICEBERG— Universal.— Thrilling and

chilling adventure adrift on an iceberg; marvelous
rescue flying. (Dec.)

SPECIAL INVESTIGATOR — Universal. —
Onslow Stevens and Wynne Gibson are rounded up
as murder suspects. When things look darkest.
Wynne saves the day. Too mystifying to be easily
followed. (Jan.)

STAGE MOTHER— M-G-M.— Alice Brady and

Maureen O'Sullivan in an "ambitious mother and
suppressed daughter" tale; Alice Brady's great work
keeps it from being boring. (Dec.)

• STORM AT DAYBREAK— M-G-M.— Kay
Francis and Nils Asther two unwilling points
of a triangle, with Serbian mayor Walter Huston
as the third. A powerful story of war days in Sara-
jevo. (Sept.)

STRANGE CASE OF TOM MOONEY, THE—

First Division. — Newsreel material showing Mooney's
side of this noted case. Effectively done. (Oct.)

STRANGER'S RETURN. THE— M-G-M.— The

folks secretly detest rich, crotchety farmer Lionel
Barrymore — all except city granddaughter Miriam
Hopkins. Grand "back to the farm" feeling;
superb acting. (Sept.)

STRAWBERRY ROAN— Universal.— Ken May-
nard and Ruth Hall good; but the horses are so fine,
humans weren't needed. An exceptional Western.
(Dec.)

SWEETHEART OF SIGMA CHI, THE— Mono-
gram.— Buster Crabbe and Mary Carlisle ornament
an otherwise so-so tale of college life. (Dec.)

SVAMA — Carson Prod. — The elephant doings
hen- might have made a one-reel short; otherwise,
tin re's nothing. ( Nov.)

TAKE A CHANCE — Paramount. — Tent-show
crooks James Dunn and Cliff Edwards try to build
up June Knight for Broadway. Lilian Bond and
Buddy Rogers. Excellent musical numbers. (Jan.)

TARZAN THE FEARLESS— Principal.— Buster
Crabbe doing Johnny Weissmuller stuff in a disjointed
Tarzan tale. Indifferent film fare. (Nov.)

THIS IS AMERICA— Frederick Ullman, Jr. Prod.
— Newsreel material, brilliantly selected and as-
sembled by Gilbert Seldes. tells the story of America
from 1917 to the present. Well worth seeing. (Oct.)

• THREE-CORNERED MOON— Paramount.
— Nicely done comedy about an impractical,
happv family. Mary Boland the impractical mama;
Claudette Colbert the daughter, in love with would-
be author Hardie Albright. But Doctor Dick Alien
moves in and upsets things. (Oct.)

Photoplay Magazine for March, 1934

THl'NDERiNG HERD, THE— Paramount.— A
well-directed Zane Grey tale with old-timers Harry
i arey, Monte Blur. Noah Beery and Raymond Hat-
ton. Randolph Scott and Judith Allen provide love
interest. (Feb.)

TILLIE AND GUS— Paramount.— Even W. C.
Fields and Alison Skipworth couldn't make much of
this would-be comedy. (.Dec.)

TO THE LAST MAN— Paramount. — Randolph
Scott and Esther Ralston, as representatives of
feuding ex-Kentucky families, lend welcome plot
variety to this good Western. (Dec.)

•TOO MUCH HARMONY — Paramount.— A
zippy musical enriched by Jack Oakie, Bing
Crosbv, inanv other A-l laugh-getters. A riot of fun.

TORCH SINGER— Paramount.— Claudette Col-
bert is an unmarried mother who succeeds as a singer.
Her songs are fine; Baby LeRoy. (Nov.)

TRAIL DRIVE, THE— Universal.— An accept-
able Western with Ken Maynard. (Oct.)

• TUGBOAT ANNIE— M-G-M — Marie Dres-
sier and Wally Beery provide fun running their
tubgoat about Seattle. Not exactly a "Min and
Bill," but splendid entertainment. (Oct.)

• VOLTAIRE— Warners.— A triumph for
George Arliss. as the whimsical Frencli phil-
osopher intriguing at court. Reginald Owen superb
as Louis XV. (Sept.)

WAFFLES — Helen Mitchell Prod.— They
shouldn't have tried making a Southern girl of Sari
Maritza. The rest of it is in keeping with this mis-
take. ( Nov.)

WALLS OF GOLD— Fox.— Sally Eilers, others,
wander dully through a dull tale about marrying for
money after a lovers' falling out. (Dec.)

WALTZ TIME — Gaumont- British. — Charming
music helps a dull, draggy story. (Dec.)

WAY TO LOVE, THE— Paramount.— Maurice
Chevalier wants to be a Paris guide, but finds himself
sheltering gypsy Ann Dvorak in his roof-top home.
Plenty of fun then. (Dec.)

WHITE WOMAN— Paramount.— Charles Laugh-
ton, ruler of African jungle kingdom, discovers that
Camle Lombard, cast-off, whom he is sheltering, has
fallen in love with Kent Taylor. And what blood-
curdling horror follows! (Jan.)

WILD BOYS OF THE ROAD— First National —
A well-done story of youngsters who turned hoboes
during the depression. (Dec.)

WINE, WOMEN AND SONG — Monogram.— To

save her daughter (Marjorie Moore), in love with
dance director Matty Kemp, from clutches of
theatrical operator Lew Cody, Lilyan Tashman
poisons Lew and herself. Nothing new here. (Feb.)

WOMAN I STOLE, THE— Columbia.— Herge-

sheimer's "Tampico " done in Algeria. Big oil man
Jack Holt after Donald Cook's wife, Fav Wrav.
Fair. (Sept.)

WOMAN WHO DARED, THE— Wm. Berke
Prod. — Assisted by reporter Monroe Owsley,
Claudia Dell manages to outwit gangsters who
threaten to bomb her textile plant. Good cast; fair
story. (Feb.)

WOMEN IN HIS LIFE, THE— M-G-M— A very
melodramatic tale about a lawyer (Otto Kruger) who
finds himself in the odd position of defending the
man who has murdered the woman he (Kruger)
loved. Una Merkel, Roscoc Karns provide comedy
relief. Ben Lyon is young love interest. (Feb.)

WORST WOMAN IN PARIS?, THE— Fox.—

Adolphe Menjou, Benita Hume. Harvey Stephens, in
a mild tale about a misunderstood woman. (Dec.)

YOU MADE ME LOVE YOU— Majestic Pictures.
— In this swift-paced English farce we see a new
Thelma Todd. The "Taming of the Shrew" idea.
with Stanley Lupino adding much to the film. (Feb.)

John Mack Brown finds inspiration in his fine old wood carving depicting

the birth of Christ. Johnny goes in for antiques and among his possessions

are some priceless works of art on which he dotes

"Here is "the

soys
JlaU/DUMl

SECRET

t \^$-

MOON GLOW

NAIL POLISH
'•Beautifies Your Hands

You will be delighted with the smartness of your
hands when you beautify them with MOON
GLOW Nail Polish. Keep on your shelf all of the
five MOON GLOW shades Natural, Medium,
Rose, Platinum Pearl and Carmine.

If you paid $1 you couldn't get finer nail polish than MOON
GLOW — the new Hollywood favorite. Sold by druggists (25c
size) and chain 10c stores (10c size) — or send coupon.

Moon Glow Cosmetic Co., Ltd., Hollywood, Calif.

Gentlemen: Please send me introductory package of Moon
Glow. 1 enclose 10c (coin or stamps) tor each shade
checked. ( ) Natural ( ) Medium ( ) Rose
( ) Platinum Pearl ( ) Carmine.

Name

St. 6? No

City State.. . . (P-A3)

CELEBRITIES

CHOOSE

The SENECA

while in Chicago . . .

because at the SENECA they
are assured of those little ex-
tras in service .... luxuri-
ous yet comfortable quarters
and good food.

During your next visit to
Chicago we invite you to see
why people who know choose
THE SENECA. 10 minutes to
the heart of Chicago. Perma-
nent .... Transient.

200 EAST CHESTNUT ST.
CHICAGO, ILLINOIS

Cal York's Monthly Broadcast from Hollywood

[ CONTINUED FROM PAGE 97 ]

A NDY DEVINE procured for himself one of
those angular, precarious hillside houses in
Hollywood wherein he and his new bride
settled down in blissful repose.

But California had a flood, a real honest-to-
goodness "unusual" flood, and it wasn't so
kind to the love-nest.

Right after the deluge someone asked Andy
about his homelife.

"It's a washout," he gargled ruefully.

TT'S getting to the place where they talk about
practically anything in pictures now. In
Fox's new "Disillusion" they have a beautiful
girl who is cruel and pinches her boy friends.
In another scene, the girl, played by Gertrude
Michael, tries to feed John Boles strawberries
- — soaked in ether!

Unique idea — but we don't think it will ever
be popular.

T^ID you know that Joan Crawford is one of
■^^the most sensitive girls in Hollywood? Un-
less Joan feels the people around are in com-
plete sympathy with her, she is ill at ease and
unable to work.

A new girl in the M-G-M publicity depart-
ment was sent out on the Crawford set to
deliver a message. Joan saw the girl standing
on the side lines watching her. Instantly she
became shy and imagined the girl was watching
her critically.

"Who is she?" Joan demanded, "I feel sure
she doesn't like me."

The girl was introduced and found to be a
great Crawford fan. And from then on Joan
was at perfect ease and the work went on.

"VT)U should see that trim, smart look about
the M-G-M male stars these days. The
sparkle in their eyes and the spring in their
step. And it's all due to one Mike Cantwell,
trainer for Max Baer. Mike has established a
training station on the lot and Ramon Novarro,
Clark Gable, Robert Montgomery and all the
others are pupils of Mike. "I'll make Max
Baers out of these actor guys yet," he boasts,
and from the results it looks as if he will.

T7TXDA tough on all the real estaters who

have been camping on Mae West's trail —

but Mae has decided not to buy a house yet.

A new sound miracle emanates from the studio when Nelson Eddy,
formerly of the Metropolitan Opera, New York, sings a glee club chorus
to himself. He's explaining it all to Florine McKinney. Eddy records his
own voice by singing different parts of a selection and makes a chorus
with no other voice but his own

Southern belles weren't excluded in
Paramount's "Search for Beauty"
contest. Clara Lou Sheridan was
discovered in Dallas, Texas — and
she has her movie contract now

She likes the sound of people all around her.
Says she can't get any writing done at home if
somebody isn't playing a piano next door or an
elevator doesn't bang now and then. Nobody
but servants around is depressing. So she'll go
right on living in her comfortable apartment in
the center of Hollywood, where friendly sounds
drift in.

TF they follow tradition, how in the world will
■^they put a happy ending on "Napoleon"?
The only way will be to let him win the Battle
of Waterloo.

A ND if you don't think Mary Pickford is
still America's sweetheart you should have
heard three college youths, home for a holiday
from school, raving about little Mary. She
was making personal appearances at New
York's Paramount and she drew a full house
every day.

""THIS is one of those things that always sound
■*■ like it was made up but it's the goods,
honest!

Clark Gable made a request that almost
bowled Producer Irving Thalberg over.
Seriously, even firmly, Clark asked to be an
extra just for one day on the set of "The
Merry Widow." It seems that the first chore
he ever did at M-G-M was a uniformed extra
in the original silent version of that particular
film, and now he wanted, just for sentimental
reasons, to go back a few years and try to ap-
preciate how kind fate has been to him, by
standing in his old extra shoes once more.

126

America is all ears for

45 Minutes in Hollywood

"It's thrilling America— it will thrill you— this great
new radio show of movieland — "45 Minutes in Holly-
wood"— presented by The Borden Company.

"45 Minutes in Hollywood" is on the air every Satur-
day evening at 8 P. M., E. S. T., over the Columbia
Broadcasting System (7 P.M, C.S.T.; 6 P.M., M.S.T.)
And what a tingling, fast-stepping show it is!

IT'S A DATE!

Join the audience every Saturday evening (8 P.M.,
Eastern Time, 7 P.M., Central Time, 6 P.M., Mountain
Time) . . . and live in Hollywood for 45 thrilling minutes!

HOLLYWOOD

STARS!

Meet the famous
screen stars with Cal
York of Photoplay
doing the introduc-

You'll hear the hits
from the new pic-
tures played byone of
radio's finest orches-
tras—Mark Warnow!

45 Minutes in Hollywood" presentee? by Borden's

MAKERS OF FINE DAIRY PRODUCTS FOR 75 YEARS

THE HEIGHT OF GOOD TASTE

ALWAYS t/ie Smest SaScuw ami OWiXt/ie &niwJ£etweA\

Hft

V^"

KATHARINE
HEPBURN

"I Had To Leave John Gilbert"*.^0 *rv

LANNY ROSS

From the radio to the screen
comes Lanny Ross, singing star
of the Maxwell House Coffee
Showboat Hour. For two years,
one of the most popular per-
formers on the air, his thrilling
voice and charming personality
will be heard and seen from now
on in PARAMOUNT PICTURES.

"MELODY
IN SPRING'

with

Charlie Ruggles
Ma ry Bo I a n d
Ann Sothern

Directed by Norman
McLeod. AParamount
Picture. .will introduce
Lanny Ross to motion
picture audiences

-«»»»

dESS

Photoplay Magazine i or April, 1934

Only you and the Apes

catch cold!

THE ape can catch your cold and you
can catch his. While other animals have
what appear to be colds, they are in no way
related to that compound of misery, discom-
fort, and danger we humans call a cold.

Driven by human suffering and economic
loss due to workers' absence (3450,000,000 in
U. S. alone), able research men have sought
the cause of this puzzling universal malady.

Out of countless experiments on willing
man and resistant ape has come what science
believes to be the answer:

It is a virus — invisible and so fine that it
readily passes through delicate filters which
easily retain ordinary bacteria, including
the microscopically visible germs associated
with colds. This virus and the
secondary cold bacteria invade
the body principally through the
nose and throat. There they
lodge, waiting till body resistance
is low to strike.

It is,a matter of common knowl-
edge that the cleaner the oral
cavity the less the chance of bac-
teria multiplying. In addition,
certain tests indicate that the use
of mouth antiseptics reduces the
risk of catching cold.

For maintaining oral cleanli-
ness and attacking germs, Lis-
terine has been recommended for
more than 50 years. It is germi-

cidal, non-poisonous, safe in action,
pleasant to taste, and therefore ideal for
home use.

Why not give yourself and your family the
benefit of its freshening, cleansing, germ-
killing action? Gargle every morning and
every night.

Lambert Pharmacal Co., St. Louis, Mo.

Drawn from life by Den Smith

the safe antiseptic LISTERINE with the pleasant taste

Photoplay Magazine for April, 1954

O^^fly

\^e

^<^-:^

&&*£*&?&

**>**£. ***"

^ frfL.

*!La.**

tfX

\lO

ov°

arc*

***'•

JA(

.<*

Vol. XLY No. 5

OTOPLA

The World's Leading Motion Picture Publication

KATHRYN DOUGHERTY, Publisher

April, 1934

Winners of Photoplay
Magazine Gold Medal for
the best picture of the year

"HUMORESQUE"

1921

"TOL'ABLE DAVID"

1922

"ROBIN HOOD"

1923

"THE COVERED WAGON"
"ABRAHAM" LINCOLN"

1925

"THE BIG PARADE'

1926

"BEAU GESTE"

1927

"7th HEAVEN"
"FOUR'SONS"

1929

"DISRAELI"

1930

"ALL QUIET ON THE
WESTERN FRONT"

1931

"CIMARRON"

1932

"SMILIN' THROUGH"

Information and
Service

Brickbats and Bouquets

Hollywood Menus .
Questions and Answers
Hollywood Fashions
Casts of Current Photoplays
Addresses of the Stars

;i4

1-27

High-Lights of This Issue

Close-Ups and Long-Shots Kathryn Dougherty 27

Is Walt Disney a Menace to Our Children? David Frederick AIcCord 30

A Rip-Roaring Rumba Mildred Mastln 33

Ladies as Mr. Menjou Likes Them

By Adolphe Himself as told to Kihtley Baskette 36

Cal York's Monthly Broadcast from Hollywood 48

Sylvia Tells Mae Clarke How to Gain Energy .... Sylvia 52

Spring! 'Tis Forgiving Time in Hollywood . . Sara Hamilton .54

Mexico Comes to Hollywood 56

Seymour — Photoplay's Style Authority 63

Star News From London Kathlyn Hayden 72

The City of Forgotten Nobles Jack Jamison 74

Hollywood Snubs Paris William P. Gaines 78

"The Jungle Is No Place for a Woman" . . Virginia Maxwell CO

Cast Your Votes ! 82

Photoplay's Hollywood Beauty Shop . . Carolyn Van Wyck 83

Screen Memories from Photoplay 102

Photoplays Famous Reviews

Brief Reviews of Current Pictures 6

The Shadow Stage 58

Personalities

Jean Battles a Sea of Rumors ....
"I Had to Leave John Gilbert" — Virginia Bruce
Clark Gable Cuts the Apron Strings

Dolores Extols Passive Love

Anna Sten — The Million Dollar Gamble
Rudy Still Has His "Vagabond Dreams"

Superstitions Guide Her 47

From Producer to Actor ....

His Third Time on Top

Polly With a Future

A Horse Helped Her Climb

He's Xo Longer Invisible

On the Cover — Katharine Hepburn — Painted by Earl Christy

RuTn Rankin

. Virginia Maxwell

William F. French

Katherine Franklin

Hilary Lynn

Nina Remen

Beairegard Brown-
William P. Gaines

32
34
38
39
40
42

47
62

77
77

Published monthly by the Photoplay Publishing Co.
Publishing Office, 919 N. Michigan Ave., Chicago, 111. Editorial Offices, 221 W. 57th St., New York City

The International News Company, Ltd., Distributing Agents, 5 Bream's Building, London, England

Kathryn Dougherty,
President and Treasurer
John S. Tuomey, Vice-President

Yearly Subscription: $2.50 in the United States, its dependencies, Mexico and Cuba; S3. 50 Canada; S3.50 for foreign countries. Remittances

should be made by check, or postal or express money order. Caution — Do not subscribe through persons unknown to you.

Entered as second-class matter April 24, 1912, at the Postofnce at Chicago, 111., under the Act of March 3, 1879.

Evelyn McEvilly, Secretary

Consult this pic-
ture shopping
guide and save
your time, money
and disposition

e views o

Brief R
Current F ictur

■fc Indicates photoplay ivas named as one of the best upon its month of review

ABOVE THE CLOUDS— Columbia.— Thrilling,

with lots of air action. Several shots of actual news
topics. Richard Cromwell, a newsreel cameraman;
Robert Armstrong, his superior; and Dorothy Wilson.
(March)

ACE OF ACES — RKO-Radio.— Richard Dix in a

not-so-hot wartime aviation story. (Dec.)

ADVICE TO THE LOVELORN— 20th Century-
United Artists. — As punishment for neglect of his job
as reporter, Lee Tracy is made "Miss Lonelyhearts"
editor of the newspaper. Sally Blane, Isabel Jewell.
Sterling Holloway, C. Henry Gordon lend able
support. Fair. (Feb.)

AFTER TONIGHT— RKO-Radio.— Connie Ben-
nett's a Russian spy in love with Austrian officer
Gilbert Roland; fast, exciting. (Dec.)

AGGIE APPLEBY, MAKER OF MEN— RKO-
Radio. — Country-boy Charles Farrell is made into a
tough mug by bad-lady Wynne Gibson. Bill Gargan.
You'll laugh and like it. (Dec.)

• ALICE IN WONDERLAND— Paramount-
Lewi- Carroll's fairy tale filmed for the amuse-
ment of both young and old. Charlotte Henry is
charming as A lice. A technical achievement. (Feb.)

ALL OF ME — Paramount. — Miriam Hopkins is
fearful that marriage might kill her love for Fredric
March. But ex-convict George Raft and Helen
Mack, about to become a mother, make Miriam
realize that life cannot be all jov. Good drama.
(March)

• ANN VICKERS— RKO-Radio.— Irene Dunne
in a finely acted tale of a social worker who
loves but doesn't marry. Walter Huston, Bruce
Cabot. Strictly for sophisticates. (Dec.)

• ANOTHER LANGUAGE — M-G-M. — A.
slow-moving but superbly acted story of a bride
(Helen Hayes) misunderstood by the family of hubby
Bob Montgomery. The late Louise Closser Hale
plays the dominating mother. (Oct.)

AS HUSBANDS GO— Fox.— When wife Helen
Vinson is followed home from Europe by admirer
G. P. Huntley. Jr.. husband Warner Baxter takes him
out fishing, and straightens things out. Mediocre.
(Feb.)

AVENGER, THE — Monogram. — Adrienne Ames
and Ralph Forbes wasted on this one. (Dec.)

BEAUTY FOR SALE— M-G-M.— An amusing
tale about the troubles of girls who work in a beauty
shop. Una Merkel, Alice Brady, Madge Evans,
Hedda Hopper, others. ( Nov.)

BEFORE DAWN— RKO-Radio.— Dorothy Wilson,

a spiritualist, tries to help detective Stuart Erwin
s live a murder mystery — in a haunted house! Not
for the kiddies. (Jan.)

• BELOVED— Universal.— The story of a com-
poser's life. His poverty, his disappointment
in a worthless son, his scorn of grandson's modern
musical triumphs, his great love for his wife, and his
belated success. John Boles, Gloria Stuart. (Feb.)

BIG EXECUTIVE— Paramount.— Ricardo Cor-
tez, Richard Bennett, Elizabeth Young, wasted in
another of these stock market tales. Weak storv.
(Oct.)

BIG SHAKEDOWN, THE— First National —
Ricardo Cortez forces Charles Farrell into cut-rate
drug racket but when a fake drug kills Charlie's
and Bette Davis' baby, then Charlie retaliates.
A poor film. (Feb.)

BIG TIME OR BUST— Tower Prod —Regis
Toomey and Walter Byron try hard, but to no
avail. However, the good singing voice in the film
may make you forget theold plot. (Feb.)

BITTER SWEET— United Artists.— A British
musical, about a woman musician who lives on after
her husband was killed defending her honor. It could
have been stronger. (A" of.)

BLARNEY KISS, THE— British & Dominions-
British restraint takes zip from this tale of an Irish-
man who kisses the Blarney Stone, and then has great
adventures in London. Well acted. (Nov.)

BLIND ADVENTURE — RKO-Radio. — Ad-
venturous Bob Armstrong tangled with Helen Mack,
crooks, and a jovial burglar. Roland Young, in a
London fog. But the plot is as badly befogged as the
characters. (Oct.)

Cast your
Vote

for the best

picture released

during 1933.

You'll find a ballot

on page 82

this issue of

Photoplay

BLOOD MONEY— 20th Century-United Artists.

— Underworld bail bondsman George Bancroft falls
in love with pretty Frances Dee and deserts his
gangster friends who made him. Good suspense.
(Jan.)

BOMBAY MAIL — Universal. — Murder aboard
the Bombay Mail train. Inspector Edmund Lowe
solves the mystery. The large cast includes Shirley
Grey and Onslow Stevens. Good suspense. (Feb.)

• BOWERY, THE — 20th Century-United
Artists. — Grand fun while Wally Beery as
Clunk Connors and George Raft as Sieve Brodie
battle for leadership of the Bowery in old days.
Jackie Cooper, Fay Wray. Don't miss it. (Dec.)

BRIEF MOMENT — Columbia— Night club
singer Carole Lombard marries playboy Gene Ray-
mond to reform him. It has snap and speed. (Nov.)

BROADWAY THRU A KEYHOLE— 20th Cen-
tury-United Artists. — Walter Winchell's melodrama
of Gay White Way night life. Entertaining. (Dec.)

• BROADWAY TO HOLLYWOOD— M-G-M.
— Frank Morgan, Alice Brady, others, in a
finely-done life story of two vaudeville hoofers. No
thrills, but supreme artistry. ( Nov.)

BROKEN DREAMS — Monogram. — Buster
Phelps shows how a little child can lead them; it's
slightly hokey. (Dec.)

BUREAU OF MISSING PERSONS— First Na-
tional.— Good, stirring detective work by hard-boiled
Pat O'Brien, directed by chief Lewis Stone. Bette
Davis. ( Nov.)

CHANCE AT HEAVEN— RKO-Radio.— "Poor
but noble" Ginger Rogers and rich Marian Nixon
want Joel McCrea. Excellent playing makes this old
plot highly appealing. (Dec.)

CHARLIE CHAN'S GREATEST CASE— Fox.

— Warner Oland in another delightful tale about the
fat Chinese detective, and a double murder. Heather
Angel. ( Nov.)

CHARMING DECEIVER, THE— Majestic Pic-
tures.— One of those mistaken identity films, with
Constance Cummings as a London mannequin im-
personating a, movie star. Frank Lawton is her lover.
Acceptable. (March)

CHIEF, THE— M-G-M.— Ed Wynn in a filmful of
his nonsense that's good at times and at others not so
good. (Dec.)

• CONVENTION CITY— First National.— The
scene is Atlantic City; the incident, another
sales convention. Gay and eventful as always.
Joan Blondell, Adolphe Menjou. Dick Powell. Mary
Astor, Guv Kibbee, Frank McHugh and Patricia
Ellis. (Feb.)

CRADLE SONG — Paramount. — Just as charm-
ing is Dorothea Wieck in this her first American
picture as she was in "Maedchen in Uniform."
The beautiful story of a nun who showers mothei-
love on a foundling. (Jan.)

CRIMINAL AT LARGE— Helber Pictures. —
Edgar Wallace's exciting mystery. All about strange
happenings at the old castle of the Lebanon family.
(March)

CROSS COUNTRY CRUISE — Universal, —
Another transcontinental bus trip, the passengers this
time being Lew Ayres. June Knight, Arthur Vinton,
Alan Dinehart, Minna Gombell and Alice White.
Good comedy. (March)

DANCE, GIRL, DANCE— Invincible.— Dancer
Evalyn Knapp can't get along with vaudeville
partner-husband Edward Nugent. But when she
clicks in a night club, thev make up. Entertaining.
(Jan.)

[ PLEASE TURN" TO PAGE 15 I

Photoplay Magazine for April, 1934

LAUGHTER!
SONG!...
DRAMA! . . .
SPECTACLE!

A First National Picture

The most amazing show ever conceived
— the one and only "Wonder Bar"! The
producers of the screen's most glorious
musicals now bring you the master per-
formances of the world's master perform-
ers! 4 breath-taking spectacles staged
by Busby Berkeley, creator of the sensa-
tional numbers of "Gold Diggers" and
"Fashions of 1934" ... 5 rousing song
hits . . . and a thousand other thrills and
surprises from the director of "42nd St."
end "Footlight Parade" — Lloyd Bacon!

Tke

ience

lalks Back

Why, Mister Fields, what can you be up to out there on the beach with all

those pretty girls? Guess you've won them over with your clowning,

same as you have a host of girls in your movie audience

THE $25 LETTER

Recently my father visited me for a few days.
He was born in England seventy-seven years
ago, and is the "youngest" man I know. He
has taken everything in his stride — from
covered wagons to airplanes, but until his
recent visit in my home he had never seen nor
heard a motion picture.

Imagine, if you can, what it would be like to
step into a theater for the first time in one's
life — to experience the thrill not only of one's
first talking picture, but one's first motion
picture. He said over and over again, "It's
wonderful — wonderful! "

In this modern age we are so sophisticated,
and so busy appearing bored, that it is refresh-
ing to see someone thoroughly enjoy and ap-
preciate both the artistry and the scientific
accomplishment back of the things the rest of
us take for granted.

Martha Standing, New Orleans, La.

THE $10 LETTER

I suffered through the agonies of the first
talkie, and then — slowly, surely — saw, heard
and felt it develop from a tottering infant to a
splendid specimen of full-grown perfection. I
have been appreciative, tolerant, proud, often
critical of this miracle, yet defending it from
the criticism of others.

There has been no picture, however incom-
petent the actors, however poor the direction,

no matter how dull the story, in which I have
not found something redeemable.

Ruth S. Cohen, San Francisco, Calif.

THE $5 LETTER

I have talked with rustics who never stirred
from the backwoods and yet they called a
marquis a markee; they spoke of lower Man-
hattan, the loop in Chicago, the Barbary

THE battle is on ! So far the crown
belongs to Garbo. But, wait,
they're coming up for round two.
Stand by for further developments in
this exciting screen encounter.

New votes keep coming, and in
this department next month you will
see a photo of the happy pair that has
been adjudged, by PHOTOPLAY
readers over a period of months,
"Hollywood's Ideal Couple."

The ultra sophistication of Para-
mount's "Design for Living" is caus-
ing a great stir among movie-goers.
They're either one hundred per cent
for it, or quite, quite in opposition.

An order, producers, to cast John
and Lionel Barrymore as Sherlock
Holmes and Dr. Watson. A happy
thought, eh what?

Coast, the Riveria, as if they were in the habit
of week-ending at these glamorous places.

Talkies are broadening the outlook of our
people, giving them a finesse and polish.

Edw. J. Luba, Pittsburgh, Penna.

PAGING W. C. FIELDS!

The movies are a tonic for me — and W. C.
fields certainly puts a kick in that tonic. He's
"different" with a unique personality.

It can't be just his so-funny and pleasant-to-
look-at face. Nor the cigar. It's altogether a
certain hard-to-define something that makes
me enjoy his comedy.

Please page Mr. Fields and hand him this
orchid !

Bertha M. Huston, Napoleon, Ohio

IT IS HEPBURN

Kirtley Baskette's article "Is It Garbo or
Hepburn?" was fine, but how can there be a
doubt in the mind of anyone that Garbo's
reign of Cinemaland is over?

So meteoric has been the ascent of Katharine
Hepburn, that her rise can be paralleled to that
of some of the greatest monarchs in history.

Hepburn is no longer "standing at the
portals," as Mr. Baskette says. Rather, she
has entered and is in complete command of the
fortress.

Mrs. F. Raphael, Indianapolis, Ind.

NO, IT'S GARBO

There ouglit to be a doubt in the mind of
Katharine Hepburn as to her acting ability.

How the author of "Is It Garbo or Hep-
burn?" in the March issue of Photoplay can
make the statement that Hepburn is the
greatest actress ever to come to Hollywood, is
beyond me.

Greta Garbo is far and away more fascinat-
ing, and who says she can't act?

Estelle Berg, Rochester, N. V.

THAT IS, SO FAR

Granted, Katharine Hepburn is a Hollywood
success. But the idea of Kirtley Baskette say-
ing, in the March issue of Photoplay, that
her acting ability is greater than Garbo's.

I do wholeheartedly agree with the author of
"Is It Garbo or Hepburn?" however, in that
no one can see her latest picture, "Queen
Christina," without feeling Garbo's hypnotic
power.

Let's not challenge the crown of so glorious a
creature.

Billie Sanders, Philadelphia, Penna.

ABOUT OUR "ANGEL"

Far be it from me, with the whole world
Mae West-conscious, to disparage this lady's
ability. I think she's clever and a great show-
woman, but after seeing "I'm No Angel" I
wonder if she's not giving it to us in pretty
large doses?

Betty Hall, Apple Creek, Ohio
[ please turn to page 10 ]

Photoplay Magazine for April, 1934

m
20'A

CENTURY

PICTURE

•

f\ c ! e a s e a
thru

UN'ITED
ARTISTS

JOSEPH M. SCHENCK

PRESENTS

^N-.

A GEORGE

Arliss

in a DARRYL F. ZANUCK production

CHOUSE of
ROTHSCHILD

W I T H
LORETTA BORIS ROBERT

YOUNG -KARLOFF- YOUNG

AND A SUPERLATIVE CAST OF MORE
THAN 100 FEATURED PLAYERS

YEARS GREATEST
PICTURE IS ON
THE WAY!. . .

His heart bled for the shat-
tered romance ol his lovely
daughter. To rehuild it he
matched his wits against
the brains and power ol
Europe, and {Dulled down
irom heaven the star ol
Napoleon s destiny — 1 his
is Arliss at his greatest.

Readers' Applause of Films

F-U-N

Eddie Cantor! To me his name spells/;;/;,
I have always appreciated the wholesomeness
of his wit. I have always recognized a desire on
his part to get over to us ideas that would be
helpful as well as happy.

Edith M. Gilbert, Portland, Oregon

LAUGHS THAT LAST

"Roman Scandals" is one of the funniest
pictures I have ever seen. Not silly and made
up of worn-out gags, but a picture that con-
tains excitement, humor and sorrow.

I still have to laugh when I think of the
inimitable Eddie Cantor.

Dorothy Winson, Reading, Penna.

"MOVIES, M. D."

Four years ago I had a severe attack of
spinal meningitis and the doctors agreed I
would never be well. I walked only a little.
Rut I had always gone to the movies and I de-
termined to continue.

Those pictures acted on my sluggish circula-
tion like wine. All sense of viewing a picture
was forgotten. I was living with those actors,
laughing with them, crying with them, yes,
even dying with them.

I attended them all, good, bad, indifferent.
They fed my nerves with a life-giving energy.

After a few weeks. I could walk to the
nearest theaters and after a few months, I
could walk all over town.

I can truthfully say the movies saved my
life!

Maye McKnight, Long Beach. Calif.

[ CONTINUED FROM PAGE 8

OUR DANCING STAR

We appreciate the dancing genius and acting
ability of Fred Astaire in "Flying Down to
Rio," and realize just what the talkies do for us
in the way of bringing such artists to the
screen. Here is a bouquet for that grand pic-
ture and all its principals. We think Holly-
wood has done right by Fred Astaire.
D. Steffen and E. Shutte, Glendale, Calif.

GIVE US MUSTACHE TWIRLERS!

What the screen wants today, and wants
badly, are more of those good old-fashioned
scowlers and mustache twisters. The fellows
who laughed cruelly as they turned poor
widows into the street.

Why, compared with that old crew of home-
wreckers, the modern villains are just softies!
Mrs. F. J. Driscoll, Detroit, Mich.

UNSEEN PERFORMERS

My hat is off to the people who do the talk-
ing, singing, and provide the musical score for
cartoons. They give every pig and cat a per-
sonality, and though they never appear on the
screen, are real stars in their line.

Lew Morrison, Seattle, Wash.

With the beautiful
Dolores Del Rio
our dancing star,
Fred Astaire, goes
into one of the sen-
sational South
American numbers
from the picture
"Flying Down to
Rio." Astaire's
splendid work has
prompted readers
to send in votes of
approval by the
score. Certainly
ought to encourage
a fellow

"To me his name spells Fun," is what one reader
says of Eddie Cantor. Another must laugh when-
ever she thinks of him, though it is weeks since she
saw his latest, "Roman Scandals"

CREDIT WHERE CREDIT IS DUE

Why does everyone give all the praise to the
movie stars themselves — I think the public
owes homage to all producers.

They have turned the talents and accom-
plishments of the stars into pictures of perfec-
tion. No self-instructed stars could make a
success of pictures. It takes a producer to in-
spire courage, training and give them their
"great chance."
Mrs. Bi.rmce Meehan, Indianapolis, Ind.

THAT IS GRATITUDE!

Recently a "talkie" theater opened in our
town. Words fail to describe my feelings when
I sat down on one of those rough wooden
benches, watching the shadows of people, my
own race, my own countrymen, expressing feel-
ings, also of my own. In the dark, nobody
could see the tears which trickled down my
cheeks — tears of gratitude.

Mrs. E. LeRose, Occ. Negros, P. I.

[ PLEASE TURN TO PAGE 12 ]

Photoplay Magazine ior April, 1934

I I

Completely and
daringly different
from anything she
has ever done.

An RKO Radio Picture with Robert Young • Ralph Bellamy • Martha Sleeper
Directed by John Cromwell . . . From the Play by Lula Vollmer
A Pandro S. Berman Production Merian C. Cooper, Executive Producer

rickbats &

Everyone's applauding that veteran showman, Lionel Barrymore. Here

he is with Janet Gaynor, as the old colonel, in "Carolina." He appears,

always, to live the character he portrays

[ CONTINUED FROM PAGE 10 ]

PLACING YOUR ORDER

I'd give up my armchair, fireside, yea, and
even my newest detective thriller, and amble
down to the theater if some movie producer
would put dear old Sherlock Holmes and Dr.
Watson on the screen in the persons of John
and Lionel Barrymore. Myrna Loy might
furnish the "feminine atmosphere."

Please, please do it, Mr. Movie Man.

Myrl Rentfro, Palouse, Wash.

SHOW ME!

Lionel Barrymore is as finished an actor as
the screen possesses. Show me another who
puts as much feeling into his parts, as much
realism in his touches of emotion, as much
humor in his moments of comic pathos, or loses
himself as completely as does Lionel in the
characterizations he portrays!

Does not Lionel depict truly the life of each
of his characters? The answer gives you the
secret of his film success. He compels absolute
admiration.

Walter Phillips, Lafayette, La.

THAT'S FINE

May I say that I feel the height of entertain-
ment has been reached in " Design for Living."
It certainly came up to all requirements. I
must say "Thank you" to all who worked to
give the public such a satisfying bit of enter-
tainment.

M. L. Lee, Bridgeport, Conn.

BUT, OH, WHAT'S THIS?

A brickbat, and all because of a spoiled eve-
ning I spent seeing " Design for Living," featur-
ing Gary Cooper, Fredric March and Miriam
Hopkins.

Those stars did not get where they are in
such "sophisticated" releases. And they will
not long be where they are.

Why will the producers ruin a star, and con-
tinue to impose on the public, by presuming on
the box-office value of stars' names to offer such
rot? It was nothing short of the very worst
rubbish.

Florence Stephenson, Quanah, Texas

THEY ALL LOVE ALICE

Suddenly the theater was bathed in light,
revealing the animated faces of old folks,
youngsters and lovers, alike.

The picture — "Alice in Wonderland"!

A spell had been cast and many more had
chosen wonder for their guiding star.

Who can see such a film and not regain a
sense of the whimsical charm of everyday
life ?
Mrs. Audrey Atkinson, Little Rock, Ark.

SUES PERFECT

Was there ever a more delightful movie than
"Alice in Wonderland"? I loved it all — from
the Dormouse to the White Knight.

But most charming of all was Alice herself —
Charlotte Henry. There could be no other
Alice — no one with such a quaint little face and
plaintive voice. Charlotte was Alice as I

o u q u e t s

always imagined her. The youthful queen of
many loyal, loving hearts!

Beverly Hook, Augusta, Ga.

HOLLYWOOD AND PHOTOPLAY BOW

It is a real pleasure to attend the movies
these optimistic days when every new picture
seems better than its predecessor.

And I can always count on Photoplay for
all that the average movie-goer is interested
in — and nothing else. I have yet to find a
misleading title or a sensational story in
Photoplay. I'm willing to pay a little extra
for the best.

Norton H. Jonathan, Benvyn, 111.

TOO LONG, IN FACT

While others gush about Clark Gable's
masculinity . . . about John Boles' voice . . .
John Barrymore's profile or Gary Cooper's
height; I emulate lusty praise for the latest
screen luminary — Otto Kruger!

Quite plain, and' possessing none of the
breath-taking attributes flaunted by other
male idols, I hear you all cry! Yet this man
who meets none of the male pulchritude re-
quirements has won our hearts.

He has an irresistible charm, inimitable per-
sonality and possesses the ingenuity to act.

We've been waiting a long time for an Otto
Kruger!

Annette Victorin, Cicero, 111.

THERE'S GOOD IN EVERYTHING

If we do not care for an actor, we are not
forced to see him. Let us remember that there
is plenty of good in every production if we will
just take the trouble to find it — if we don't
care for the story perhaps the stars are so excel-
lent that their performance transcends all else
— or perhaps the settings are beautiful.

D. A. Truman, Toronto, Ont., Canada

Movie-goers everywhere are
writing in about petite Alice of
"Wonderland." Of charmir g
Charlotte Henry they say, "Thei e
could be no other Alice"

1'hotoplay Magazine for April, 1934

GAYNOR AND IJL'DDIIA

I was a bit surprised recently by what I saw
in the home of my Chinese tailor.

I had gone there to try on a dress he was
making for me. The sewing-room was crowded
that clay with young apprentices, and my tailor
wished me to try the dress; so he kindly showed
me into the family's living-room. It was a
typical Chinese room, small, and the light was
very poor, there being only one window, and it
was covered over with paper. I glanced about
the room, my eyes rested on a small altar in one
corner. There was a gilt Buddha, candles on
either side, in front of which long sticks of joss
burned slowly, sending out a clean, cool odor.

A picture was nailed to the wall right be-
neath the altar. I went closer, and a little gasp
escaped my lips as I looked into the face of
Janet Gaynor.

Wanda L. Ames, Peiping, China.

ANOTHER ORDER

Why can't we enjoy a picture featuring an
entire juvenile cast?

Come on, directors — give the kids a chance
and let them prove their talent!

Alice Larson, Yreka, Calif.

MODES A LA HOLLYWOOD

This letter is but an extract from a speech
delivered by Sir Charles Higham, in London,
England. I think it is self-explanatory.

"The other evening I saw, in a well-known
cinema, thirty Greta Garbos, twenty Marlene
Dietrichs, two Mary Pickfords, five Marie
Dresslers, and twelve Jean Harlows. They
wouldn't believe me if I told them, but they
had copied these film stars as they had seen
them in films.

"Hollywood has influenced dress, hair-
dressing and manners in every country in the
world. It is the fashion-creating center.

"Today our girls are better looking. Those
who work are brighter, more efficient.

"They pluck their eyebrows, powder their
faces, rouge their lips — so different from the
girls of twenty years ago.

"Hollywood has taught our daughters what
sex-appeal is."

J. A. Adams, Brantford, Canada

MOLDING A PERSONALITY

She was an ignorant, awkward, dowdy girl
from a lonely mountain home. She had never
seen a movie (nor a movie magazine). Radios
and electricity were new to her. She was
terrified of the telephone.

This girl came to work for us, and I felt sorry
for her. I saw possibilities in her. Plainer
girls had managed to create the illusion of
beauty. But she was shy. I showed her a
more becoming way to do her hair, and out of
my pin money I bought her a lovely silk dress,
but she even managed to give that a dowdy
appearance.

One day, I caught her looking at Photo-
play. She was eagerly devouring it with
hungry, shining eyes. She started guiltily, but
I soon reassured her and told her she might
borrow the book. Never have I seen such a
look of gratitude on a person's face. That very
minute I decided her cure would be in the
movies.

Since then, and that was three years ago, I
have taken her to see many pictures and I lend
her all my Photoplays.

I am proud of the result. Now she is a
happv, normal girl.

D. 0. N., New York, N. Y.

GLAD YOU LIKE IT

While others laud their favorite movie stars,
I'm handing a big bouquet to Photoplay, the
most reliable movie magazine on the market.

May its pages continue to scintillate with
brilliant articles about the stars!

Leah Stephens, Oakland, Calif.

rem
ontb
c no

.tted
ition
jeto

mps

war
mer-
vork
dent
ized
e of
con-
mps
roll-
plan

the
:on-

s\x
peal
if it
ther

the
•lace
■ set

the
' an
• do

will

[for
car
Icel-
and
n a .
pro-
n is
e to
1 at
n is
lild-
hev

500 HUMAN

TESTS FURNISH

STARTLING FACTS

Average cold lasted 5
Pepsodent Antiseptic cu
time in half. New
for avoiding col

Recently an interesting te
brought to light new facts ab«
Scientists found that the antis<
gle and to spray with makes
as to how many colds you have,
makes a difference as to how lot!

These scientists took a group
and observed them closely for
Here are some of the remarka
covered .

A cold will last five days
Pepsodent Antiseptic is
of a cold is cut to two
from a cold were saved.

Many of the group
Antiseptic had no col
r.T--tVi~ The number:
ban among t
»r antiseptics
first tesf
' with ■

Ulake tf do the work offi

in the right against colas f

Pepsodent is 3 times more powerful than other leading
mouth antiseptics. Hence it gives you 3 times greater
protection — gives you 3 times more for your money.

CLAIMS are easy to make until they
have to be proved. That's why
scientists spent last winter in making
one of the largest experiments of its
kind ever conducted. They wanted proof
of what Pepsodent Antiseptic was worth
when used daily.

Last winter five hundred people
were divided into several groups. Some
gargled with plain salt water — some
with leading mouth antiseptics — one
group used only Pepsodent.

Those who used Pepsodent had 50%
fewer colds than any other group.

What's more, those using Pepsodent
Antiseptic, who did catch cold, got rid of
their colds in half the time. What convincing

evidence — what remarkable testimony.
Here is a clear-cut example of the pro-
tection Pepsodent Antiseptic affords you.

Know this about antiseptics

Take note! When mixed with an equal
part of water many leading mouth
antiseptics cannot kill germs. Pepsodent
Antiseptic can and docs kill germs in 10
seconds — even when it is mixed with 2
parts of water.

That's why Pepsodent goes 3 times
as far — gives you 3 times as much for
your money — makes $1 do the wcrk of
$3. Don't gamble with ineffective antisep-
tics. Be safe. Use Pepsodent Antiseptic.
Safeguardhea'th— and save
your hard-earned money.

PEPSODENT ANTISEPTIC

Jiffy Sweets

Guests at Rochelle Hudson's home have a real treat in store. For she keeps
this lovely dish well stocked with confectionery goodies of her own making

New Orleans Pralines — Use 1 cup
of maple or brown sugar, J o CUP
of New Orleans molasses, 1 cup of
cream, 2 ounces of butter, J^ tea-
spoon vanilla, and one pint of pecan
nut meats.

Boil the first four ingredients,
stirring constantly. When it will
form a soft ball when tried in cold
water, pour over the nuts and stir
until it begins to sugar. Then drop
from the tip of a spoon in small
rounds on buttered tins.

Vanilla Cream Fudge — Use 2} %
cups of powdered sugar, 3 table-
spoons of butter, Yi CUP of rich
milk, and } % teaspoon of vanilla.
Mix milk with sugar in saucepan.
Let it boil, and add the melted
butter. Boil to the cold-water-test
stage, scraping the bottom of the
pan to prevent burning. When
cool, add vanilla, beat until thick
and smooth. Pour into a buttered
pan, and mark in squares.

Cocoanut Candy — 1} % cups sugar,
} 2 cup milk, 2 teaspoons butter,
1 3 cup cocoanut and } 2 teaspoon
lemon extract. Melt butter in
saucepan, then add sugar and milk.
Stir until sugar is dissolved. Boil 12
minutes, or until a few drops in
cold water will form a soft ball.
Remove from fire. Add cocoanut
and lemon extract, beat until
creamy. Pour at once into a but-
tered pan and cut in squares.

Matron Glace — This is not
strictly a candy, but a delicious
variation. It may be served sep-
arately as a sweet- or put up with
the syrup in a jar, and used in
desserts.

Marrons are especially good with
ice cream.

THOUGH Rochelle confesses she is no cordon bleu as a cook
of everyday dishes, when it comes to candy — well, that's
something else again.

A copper utensil is best for candy making. However, if this
isn't available, use one of heavy aluminum.

Miss Hudson's standby is good old-fashioned chocolate fudge,
which can be varied easily by the use of different sugars and
nuts.

For the basic recipe, use 2 cups of sugar (maple, brown or
white), 1 cup of milk or cream, 2 tablespoons of butter, 1 tea-
spoon of vanilla, and 4 tablespoons of cocoa or 2 squares of
chocolate.

Place sugar, milk and chocolate over a slow fire, and stir
occasionally to prevent burning. Boil until a few drops in
cold water forms a soft ball that will hold together when rolled.
Add }s teaspoon of salt, the butter and vanilla. Let cool until
it can be dented with the fingers. Then beat until thick and
creamy. Then, kneading on a tiled surface will improve the
grain. Pour into a buttered pan and mark in squares.

If desired, add 1 cup of chopped nuts when the fudge is
almost creamy. A nice variation is to form in balls and roll in
chopped nut meats or grated bitter chocolate.

Remove the shells from one pint
of chestnuts. To do this, make a
small slit with a sharp knife on the flat side of the chestnuts.
Then place in a frying pan with a teaspoon of butter. Heat
slowly, shaking all the time, until butter is melted. Then
let stand in a warm oven for five minutes. The outer and inner
shell can be removed at the same time, with this method.

NOW cover the shelled chestnuts with boiling water and a
little sugar. Cook until tender but not broken, and drain.
Then boil 1 pound of loaf sugar, 1 cup of water and J 2 of a
vanilla bean, into a syrup. Do not stir. When it begins to
discolor slightly, dip chestnuts in at once. Leave them in
for five minutes.

Take out carefully with a silver fork, place on a warm sieve
in a warm place. Next day re-heat the syrup and repeat
dipping and drying the chestnuts. Place in tiny paper cases
or lift each carefully, so they do not break, and place in a wide
necked bottle or jar. Then cover them with the hot syrup.
Seal and set aside. They will keep.

Stuffed Prunes — Another pleasant variation. Soak large
prunes overnight in cold water to which orange and lemon juice
has been added. When soft, remove the stones, and fill with wal-
nuts or pecans, and roll in powdered sugar.

Photoplay Magazine for April, 1934

Brief Reviews of
Current Pictures

CONTINUED FROM PAGE 6 1

• DANCING LADY— M-G-M.— A backstage
musical with gorgeous sitting?, lovely girls,
novel dance routines, some good song numbers, a
real plot and a cast of winners, including Joan Craw-
ford, Clark Gable. Franchot Tone, Fred Astaire.
(Feb.)

DAWN TO DAWN— Cameron Macpherson Prod.
— With little dialogue, this film of the plains depends
entirely upon the dramatic interpretation of its char-
acters— Julie Haydon, Frank Eklof, Ole M. Ness —
for its success. (March)

DAY OF RECKONING, THE— M-G-M.—

Richard Dix, Madge Evans, Conway Tearle, below
par in an ancient tale of an embezzling cashier and a
double-crossing friend. (Dec.)

DELUGE — RKO-Radi o. — Earthquakes, tidal
waves, the end of the world provide the thrills here.
Cast and store alike dwarfed by the catastrophes.
(Nov.)

DER SOHN DER WEISSEN BERGE (THE
SON OF THE WHITE MOUNTAINS)— Itala

Film. — Luis Trenker, skiing hero, and cast do good
work. But the gorgeous Alpine views run away with
this German-made film. (Jan.)

• DESIGN FOR LIVING— Paramount.— Noel
Coward's unconventional stage play of a
triangle, involving two men (Fredric March, and
Gary Cooper) and a woman (Miriam Hopkins).
Excellent. Sophisticated. (Jan.)

DEVIL'S IN LOVE, THE— Fox.— A shopworn
Foreign Legion story: but Victor Jory. Loretta Young,
David Manners, Vivienne Osborne, save it with fine
acting. (Oct.)

DEVIL'S MATE— (Also released under title "He
Knew Too Much") — Monogram. — A good melo-
drama about a murderer who was murdered so he
couldn't tell what he knew. (Oct.)

DIE GROSSE ATTRACTION ("THE BIG

ATTRACTION")— Tobis-Tauber-Emelka Prod-
Richard Tauber's singing lends interest to this Ger-
man film. English subtitles. (Oct.)

DOCTOR BULL — Fox.— Will Rogers brings per-
sonality to the tale of a country doctor struggling
witli a community that misunderstands; mild, except
for Will. ( Xov.)

• DUCK SOUP— Paramount.— The Four Marx
Brothers get mixed up in a revolution in a
mythical country — and boy, how they get mixed up!
A riot of fun. (Jan.)

EAST OF FIFTH AVENUE— Columbia.— Melo-
drama centering around the lives of ten people who
live in a cheap New York rooming house. Dorothy
Tree. Mary Carlisle. Walter Connolly and Wallace
Ford. Just fair. [Feb.)

EASY MILLIONS— Freuler Film.— A fine mix-up
when "Skeets" Gallagher finds himself engaged to
three girls at the same time. Johnny Arthur is his
professorish roommate. Good supporting cast. {.Feb.)

EAT 'EM ALIVE— Real Life Pictures.— A nature
drama about snakes and gila monsters. Perhaps a
bit too gruesome for women and children. (Feb.)

EIGHT GIRLS IN A BOAT— Paramount-
Dorothy Wilson, as the academy student facing
motherhood, and Douglass Montgomery, as the boy,
do nice work in this rather odd tale. Walter Con-
nolly, Kay Johnson. (March)

EMPEROR JONES, THE-United Artists.-
The great Negro actor Paul Robeson, in a filming of
his phenomen 1 stage success about a Pullman porter
who won rulership of a Negro republic. (Dec.)

ESKIMO — M-G-M. — A gorgeous picture of life in
the Arctic, and Eskimos tangling with white man's
law. Eskimo actors; a treat for all who like the un-
usual. (Dec.)

EVER IN MY HEART— Warners.— Barbara
Stanwyck in a too-horrible tale about persecution of
herself and hubby Otto Kruger as German-Americans
during the World War. (Dec.)

[ PLEASE Tt'RX TO PAGE 16 ]

Ginger Rogers, vivacious motion-picture
star, is just the type to wear this difficult
but delightful gown. Made of fashionable
rough crape, the little jacket has mink
lupels to give it immense chic.

How to

make the most

of your

GOOD POINTS

Study your features! You may
wish to play up the color of your
eyes, to accent lovely lips, to high-
light an interesting profile.

Watch your figure. Modern
fashions are built around youth-
ful curves. If you reduce, be sure
your diet contains adequate "bulk*"
to prevent faulty elimination.

Too often, women permit this
condition to dull their beauty and
charm. Yet it can be corrected so
easily — with a delicious cereal.

Laboratory tests show Kellogg's
All-Bran provides "bulk" and
vitamin B to aid proper elimina-
tion. Also iron for the blood.

Two tablespoonfuls daily are
usually sufficient. Chronic cases,
with each meal. Isn't this better
than risking unpleasant patent
medicines?

Kellogg's All-Bran is not fat-
tening. Get the red-and-green
package at your grocer's. Made
by Kellogg in Battle Creek.

EH3

IIIIIIII III I IIHII

KEEP ON THE SUNNY SIDE OF LIFE

Photoplay Magazine for April, 1934

S9-

This Girl Knows..

YOU CAN
DEPEND ON NR.
[ITS ALL-VEGETABLE;
SAFE'

Bright Eyes. . .
No Bad Skin

She learned Ions ago how often dull
eyes, pimply skin, nervousness and
lack of pep come from bowel sluggishness and
constipation. Now NR (Nature's Remedy) is her
secret of sparkling loveliness and vital health.
No more ineffective partial relief for her — all-
vegetable NR Tablets give thorotigh cleansing,
gently stimulating the entire bowel. Millions
take NR for thorough, effective relief from con-
stipation and biliousness. Get a 25c box. Ali
druggists'. Pleasant — safe
• — and not habit-forming.

1934 Cale

Thermometer — samples

NR and Turns. Send

Dame, address, stamp to

A. H. LEWrs CO.

De:k DP-55

St. Lo

TO-NIGHT

TOMORROW ALRIGHT

fUMS" S-^ltS«E

The Best GRAY HAIR
REMEDY IS MADE AT HOME

You can now make at home a better gray hair remedy
than you can buy, by following this simple recipe:
To half pint of water add one ounce bay rum, a small
box of Batbo Compound and one-fourth ounce of
glycerine. Any druggist can put this up or you can
mix it yourself at very little cost.
Apply to the hair twice a week until
the desired shade is obtained.
Barbo imparts colorto streaked,
faded or gray hair, makes it
soft and glossy and takes years
off your looks. It will not
color the scalp, is not sticky or
greasy and does not rub off.

High School Course
in 2 Years

can complete

this simplified High
School Course at home in
2 years. Meets all requirements for entrance to college

and leading professions. Standa-d High Srhool t^xts supplied.
DilJoma awarded. Separate subjects if desired Send for Free
Bulletin TODAY. . _ . No obligation.

American School

Oept. H.434, Drexel Ave, at S8th St.. Chicago

Women!

End Worry and
Uncertainty

Feminine Hygiene Tablets

PAR-I-O-GENisatested.scientificformuIa. which proyi lea
safe, convenient, immediate hygienic protection Wi
everywhere have been quick to recognize and accept it as a
welcome innovation in acquiring antiseptic cleanliness.

NO WATER REQUIRED

PAR-I-O-GEN tablets dissolve in the natural secretions
forming a strong chlorine solution which destroy? gern sin a
few moments. Yet, unlike poisonous, burning acidsolutioi s,
they arc soothing and harmless to the most delicate tissues.
N i water or other accessories are needed. Odorless, stainless,
greaseless.

Send for Trial Box! So you may try this modern feminine
:essity, we oSer a special trial box of WRITE FOR
live tablets, conveniently packaged for ^ j^ — —
travel or home use. with FREE booklet ^ j^ ^ £
on their need and use, for only
fifty cents (stamps or coin),
postpaid. Try them once a:id/
you will never be without them.

PP-Bt

American Drug and Chemical Co
420 So. 6th St., Minneapolis, Mir

I enclose 50c for a trial box of five
PAR-I-O-GEN tablets with instructions,
in plain wrapper.

Brief Reviews of Current Pictures

CONTINUED FROM PAGE 15 ]

FAITHFUL HEART— Hclber Pictures.— Not
even Herbert Marshall and Edna Best could make
anything of this. ( Nov.)

FAREWELL TO LOVE— Associated Sound Film.
— Especially for those who enjoy Italian opera airs.
Jan Kiepura, tenor, and Heather Angel do the best
possible with their roles. (Feb.)

• FASHIONS OF 1934— First National —
Scheming the foremost designers out of ex-
clusive models. William Powell, with the aid of Bctte
Davis, and Frank McHugh, comes through with as
clever a presentation as you have yet seen. (March)

FEMALE— First National.— Ruth Chattertnn,
who toys with men in her own motor company, melts
before George Brent. Chatterton fine. (Jan.)

FIGHTING PARSON, THE— Allied-First Divi-
sion.— Hoot Gibson tries comedy, as a cowboy be-
decked in the garb of a parson. Not exactly a comic
riot, nor is it good Western. (Oct.)

• FLYING DOWN TO RIO— RKO-Radio.—
A decided change is this musical in which Gene
Raymond pursues Dolores Del Rio to Rio de Janeiro
by plane. Fred Astaire and Ginger Rogers contribute
some grand comedy and dancing. (March)

FOG — Columbia. — Three murders take place on a
fog-enveloped ocean liner. Donald Cook is the detec-
tive in love with Mary Brian. Reginald Denny, also
in love with her, is the chief suspect. Just so-so.
(March)

FOUR FRIGHTENED PEOPLE— Paramount —

The experiences of Claudette Colbert, Herbert Mar-
shall, William Gargan and Mary Boland, lost in the
Malay jungle. Leo Carrillo is their guide. Unusual.
(March)

F. P. 1.— Fox-Gaumont British-UFA. — A well-
done and novel thriller, about a floating platform
built for transatlantic airplanes. Conrad Veidt,
Leslie Fenton, Jill Esmond. (Oct.)

FROM HEADQUARTERS— Warners.— A grip-
ping murder mystery, showing real police methods for
a change. (Dec.)

FRONTIER MARSHAL— Fox.— George O'Brien
as a "dude" marshal in a Western town. Ruth
Gillette does a Mae West impersonation. Well
worth your time. (Feb.)

FUGITIVE LOVERS— M-G-M.— Escaped con-
vict Robert Montgomery falls in love with Madge
Evans when he boards a transcontinental bus and ac-
companies her on the trip. Nat Pendleton, C. Henry
Gordon, Ted Healy. Fair. {March)

GIRL WITHOUT A ROOM— Paramount.—
Charles Farrell. Marguerite Churchill and Charlie
Ruggles in a picture that kids the pseudo-art racket
in Paris. Light entertainment. (Feb.)

^ GOING HOLLYWOOD — M-G-M. — In
y\ which Bing Crosby displays real acting ability,
and singssome grand songs. Marion Davies was never
better. Stuart Erwin, Fifi Dorsay. Colorful en-
sembles, gorgeous clothes. Well done. (March)

GOLDEN HARVEST — Paramount. — Farmer
Dick Arlen grows wheat; brother Chester Morris is a
Beard of Trade broker; a farmers' strike brings the
climax. A strong film. (Dec.)

GOOD COMPANIONS, THE— Fox-Gaumont-
British. — A mildly pleasing English tale of trouping
in the provinces. (Dec.)

GOODBYE LOVE — RKO-Radio. — Charlie
Ruggles in a would-be comedy that's really a messy
mixture of unsavory material. (Dec.)

GUN JUSTICE — Universal. (Reviewed under
the title "Rid:r of Justice.") — Ken Maynard shows
up in the nick of time to save the pretty girl's ranch
in Arizona. The same old hokum. (Jan.)

• HAVANA WIDOWS— First National.— Joan
Blondell, Glenda Farrell and Guy Kibbee in a
rollicking comedy. A climax that will tickle your
risibilities. Good fun. (Jan.)

HE KNEW TOO MUCH— Monogram.— Also re-
leased as "Devil's Mate." See review under that
title. (Oct.)

HE COULDN'T TAKE IT— Monogram.— Pals
Ray Walker and George E. Stone get mixed up with
gangsters in a highly amusing comedy concoction.
Virginia Chernll. (Feb.)

HELL AND HIGH WATER— Parmount.— Dick
Arlen, owner of a garbage scow, falls heir to a baby
and a girl (Judith Allen) at the same time. Dick
tine; story poor. (Jan.)

Name . . .
Address .

Photoplays Reviewed in the
Shadow Stage This Issue

Save this magazine — refer to the criticisms before you pic\ out
your evening s entertainment. Ma/^e this your reference list.

Page

As the Earth Turns — Warners 61

Before Midnight — Columbia 90

Bolero — Paramount 60

Carolina — Fox 60

Cat and the Fiddle, The— M-G-M .... 61
Catherine the Great — London Film-
United Artists 61

Coming Out Party — Fox 61

Death Takes a Holiday — Paramount. . 58

Devil Tiger — Fox 90

Easy to Love — Warners 90

Ever Since Eve — Fox 90

Girl in the Case, The— Screen Art Prod. 90

Ghoul, The — Gaumont British 104

Good Dame — Paramount 61

Hi, Nellie! — Warners 61

It Happened One Night — Columbia ... 58

Pve Got Your Number — Warners 90

I Was a Spy — Fox-Gaumont British . . . 104
Keep 'Em Rolling— RKO-Radio ...... 90

Legong — Bennett Picture Corporation. 90
Looking for Trouble — 20th Century-
United Artists 60

Page

Lost Patrol. The— RKO-Racio 60

Love Birds — Universal 90

Lucky Texan, The — Monogram 104

Mandalav — First National 90

Men in White— M-G-M 58

Morning After, The — British Interna-
tional 90

Murder on the Campus — Chesterfield. . 104

Mystery Liner — Monogram 104

No More Women — Paramount 90

Once to Every Woman — Columbia. ... 90

Six of a Kind — Paramount 59

Sixteen Fathoms Deep — Monogram. . . 104

Sleepers East — Fox 90

Spitfire— RKO-Radio 60

Straightaway — Columbia 104

This Side of Heaven— M-G-M 60

Viva Villa!— M-G-M 59

Woman Unafraid— Goldsmith Prod ... 104

Wonder Bar — First National 59

You Can't Buy Everything— M-G-M. 90

Photoplay Magazine for April, 1934

HELL'S HOLIDAY— Superb Pictures.— Another
assemblage of official war film — with the usual anti-
war conversation added. Otherwise, acceptable and
interesting. (Oct.)

HER SPLENDID FOLLY— Hollywood Pictures.
— Generally speaking, this is pretty poor. Lilian
Bond plays the role of double for a movie star.
Alexander Carr is a producer. (Ftb.)

HIPS, HIPS, HOORAY— RKO-Radio.— Money
disappears and two fakers, Wheeler and Woolsey. in
partnership with Thelma Todd and Dorothy Lee,
leave town by way of a cross country auto race.
Good music and dancing. (March)

HIS DOUBLE LIFE— Paramount.— Through a
mistake in identity it is believed that artist Roland
Young died when his valet passes away. Whereupon
Young marries the valet's mail-order fiancee, Lillian
Gish. An amusing satire. (March)

HIS PRIVATE SECRETARY— Showmens Pic-
tures.— An Evalyn Knapp romance with John Wayne.
Distinctly better than mosf films in which Evalyn
has appeared. (Oct.)

HOLD THE PRESS— Columbia.— This time
Tim McCoy is a newspaper man. He has exciting
times trying to expose a group of racketeers, and in
the end he does. Good suspense. (.Feb.)

HOOPLA — Fox. — Clara Bow as a carnival dancer.
Love interest, Richard Cromwell, whom Clara is
paid to vamp — and does she like it? Story so-so.
(Jan.)

HORSE PLAY— Universal.— Cowboys Slim Sum-
merville and Andy Devine go to England with a
million dollars, just in time to save pretty Leila
Hyams from jewel thieves. Just so-so. (Feb.)

• HOUSE ON 56TH STREET, THE— Warn-
ers.— Alter twenty years' unjust imprison-
ment, Kay Francis' life means little to her. Then it
is her lot to save daughter Margaret Lindsay from
a similar fate. Ricardo Cortez and Gene Ravmond.
(Jan.)

• I AM SUZANNE!— Fox.— Lilian Harvey ather
best opposite Gene Raymond, a puppeteer, in a
brand-new type of entertainment. You'll enjoy
watching the performance of the marionettes in this
charming romance. (March)

I HAVE LIVED— Chesterfield.— Alan Dinehart,
Anita Page, others, help this obvious tale about a
play wriglit and a woman of easy virtue. ( Nov.)

I LIKE IT THAT WAY— Universal.— Forever on
the lookout for young sister Marian Marsh, Roger
Pryor is quite surprised when she unmasks his good
girl fiancee Gloria Stuart as a gambling club enter-
tainer. Fair. (March)

*I LOVED A WOMAN— First National. Ed-
ward G. Robinson, as a rich Chicago meat-
packer, finds his life torn between wife Genevieve
Tobin and opera singer Kay Francis. Excellent and
"'different." (Nov.)

• I'M NO ANGEL.— Paramount.— It's Mae
West, and how! Sizzling, wise-cracking. This
one simply wows audiences. There's Cary Grant, but
Mae's all you'll see. (Dec.)

INVISIBLE MAN, THE— Universal.— Shivery,
this H. G. Wells tale, in which newcomer Claude
Rains makes himself invisible — and then loses his
reason. A creepy, but compelling picture. (Jan.)

KADETTEN (Cadets)— Reichsligafilm Prod —
An unwilling student at military school (Franz
Fiedler) dedicates many musical compositions to his
young stepmother, Trude von Molo. German, with
English titles. (March)

KENNEL MURDER CASE, THE— Warners-
William Powell in another Philo Vance murder mys-
tery; smoothly done and entertaining. (Dec.)

KING FOR A NIGHT— Universal.— Chester
Morris, a swell-headed, though likable prize-fighter,
stands the consequences for something sister Helen
Twelvetrees has done. Exciting. (Jan.)

LADIES MUST LOVE— Universal.— A "gold-dig-
ger" partnership breaks up when June Knight really
falls for Neil Hamilton. Thin, but it has good spots.
( Nov.)

[ PLEASE TURN TO PAGE 1 18 ]

with Walter Connolly
and Roscoe Ka rns

FRANK CAPRA

From the Cosmopolitan Magazine
story by Samue! Hopkins Adams

pic'by Robert Riskin

cfsv

Watch for JOHN BARRYMORE in "20th Century" with CAROte Lombard

Z/l Columbia Picture

Photoplay Magazine for April, 1934

Headache? How's your alkaline reserve?

All too often headaches are ac-
companied by a lowered alkaline reserve
in the system — so you certainly want to
use a preparation which will help bring
your alkaline reserve back to normal.

Therefore, you need something not
only to attack the pain, but to supply this
alkali. Bromo-Seltzer supplies readily-
absorhed alkali to the blood. Look what
happens when you take it!

As Bromo-Seltzer dissolves, it effer-
vesces. This is one of the reasons why
Bromo-Seltzer affords such prompt relief
from gas on the stomach.

Then it quickly relieves the pain —
ends headache before you know it. At
the same time your nerves are calmed
and soothed . . . you are gently steadied,
cheered up.

And all the while needed alkali is be-
ing supplied to the blood through citric

salts which contribute to alkalinity.

Combines 5 medicinal ingredients

Pain goes . . . your head clears . . . and
you are back to normal before you know
it ! Bromo-Seltzer is a balanced compound
of 5 medicinal ingredients, each with a
special purpose. No mere pain-killer can
equal its effectiveness.

And Bromo-Seltzer works much faster
because you take it as a liquid.

Bromo-Seltzer is so pleasant to take
— and so dependable, too. Contains no
narcotics and it never upsets the stom-
ach. Indeed it has been a standby in
many homes for over forty years.

You can get Bromo-Seltzer by the
dose at any soda fountain. Keep the
large, economical family-size bottle
at home. Ready at a moment's notice
to relieve headache, neuralgia or

other pains of nerve origin. But make
certain of the one and only Bromo-Seltzer.
Look for the full name ''Emerson's
Bromo-Seltzer" on the label and blown
into the famous blue bottle. Imitations
are not the same balanced preparation . . .
are not made under the careful system of
laboratory control which safeguards
Promo-Seltzer. Sold by druggists every-
where for more than forty years. At the
fountain or by the bottle. Emerson Drug
Company, Baltimore, Maryland.

NOTE: In cases of persistent headaches, where the
cause might be some organic trouble, you should of
course consult your physician.

EMERSON'S

BROMO-SELTZER

•••

Person*

SELTZER]

Quick

Pleasant

Reliable

,' I '*

Clarence Sinclair Bull

SHE can play the piano, too! One of movie'
dom's latest "finds," Shirley Ross was recently
signed by M'G-M. Shirley was a blues singer
with Gus ArnheirrTs orchestra when the movies
lured her. With beautiful brown hair, blue eyes,
and lots of talent, Miss Ross is a colorful addition
to the Technicolor short, "Stars and Stripes"

Mack Elliott

FRANCES DEE, all dressed up in lace and ruffles, was ready for a
good night's sleep. But Frances couldn't turn out that high'
powered lamp overhead and that floodlight by the side of her bed! So
up and to Jesse L. Lasky's "Coming Out Party," for Fox. Then RKO'
Radio had the popular Dee come back home for "Finishing School"

Irving Lippman

WHAT a happy time the sandman must have in Hollywood ! Here's
Claudette Colbert all dolled up to catch some beauty sleep. For
her night life, Claudette discards feminine frills and dons tailored
pajamas. But don't let the attire fool you! Claudette isn't going to
sleep. This is the way you'll see her in "It Happened One Night"

BLONDE and brunette — but they are sisters.
Toby (blonde) and Pat (brunette) Wing.
People in Hollywood were agog because Toby
was wearing an engagement ring. "Chevalier?"
they asked in whispers. "No," said Toby. "My
sister gave it' to me. She had two." Pat is
now Mrs. Bill Perry, but will continue her career

GIBSON

In Movie Stars or Bob Pins
it's performance that counts

RINGLET
CURL PINS

Only an inch and a half long, these
new pins are the tiniest, most truly
invisible pins you've ever used —
they make ordinary pins seem need-
lessly clumsy. Beauty shops use them
for those flattering ringlets and soft
curls that play so prominent a part
in the new hair styles. You, too, will
appreciate their strong snap, tight
grip and smooth finish that permits
them to slide in easily without pull-
ing a hair. Ten cents at all stores
in black, brown, blonde or gray

■^ Discriminating women loo\ for the

name "Sta-Rite" when buying hair
pins -- - it is their certain assurance
of highest value and best quality

Ginger Rogers, RKORADIO player
featured in "Flying Doum to Rio."

Sta-Rite Bob Pins do hold better, they are less conspicuous, they're much
easier to use and more comfortable. And that's not all - - - on each Screen
Star card you'll find a lovely photo-miniature of Claudette Colbert, Ginger
Rogers, Genevieve Tobin, Dorothy Mackaill, Constance Cummings, Wynne
Gibson, Wallace Ford, Neil Hamilton, Ralph Bellamy, Ralph Forbes, Edmund
Lowe or Jack Holt. They're suitable for dressing table or movie album.
Ten cents at stores or beauty shops — in black, brown, blonde or gray.

Similar cards containing "midget size" bob pins for children, and re-
tailing for five cents, feature members of Hal Roach's "Our Gang."
Sta-Rite Hair Pin Co., Shelbyville, Illinois

Su Rut Hair Pin Co. of Canada, LlJ.. 49 Wellington St. Wert. Toronto, Canada

Sta-Rite

HAIR PINS • • BOB PINS • • WAVE SET

FRANCES DRAKE is an American girl, but she got her stage and
screen experience in England. Paramount brought her back to this
country to make her Hollywood screen debut with George Raft in
"Bolero." While the picture was in production, an alert cameraman
caught Frances and Roy Bradley, a dancer, studying the script on the set

SO IN A SMART NEW 25c S

Soft, smooth, and lovely as her face are the hands of JOAN CRAWFORD, in
Dancing Lady. Shown with FranchotTone in a Metro-Goldwyn-Mayer production.

TRY Hinds Cleansing Cream ... by the same makers. D<
cate, light. ..liquefies instantly, floats out dirt! 10c, 40c, 6

nr, Qnrili-. u„i\ „( r„-

A S easy as ever on our eyes, Norma Shearer comes back ! Here she is,
■*■ *-at work at the M-G-M studio with Herbert Marshall in "Lady
Mary's Lover," her first picture since the successful "Smilin' Through,"
the Photoplay Gold Medal winner of 1932. Part of Miss Shearer's

studio recess was spent in Europe with husband, Irving Thalberg

Kath

n Dougherty

CERTAIN motion picture publications have become more and more
daringly offensive in the type of photographs they are printing. They
scream with sex — sex at its worst. They hope to maintain their circulation
by appealing to the most vulgar of taste. Pick up one of these sheets and you
get the impression that the motion picture industry is a tangle of legs, divorce
suits and scandal. The scantily clad maidens that garnish the pages of these yellow
books are often quite unknown. They are not even bit players. The trick is some-
times pulled of printing a photograph of some actress taken years ago when she
was an artist's model.

Publications guilty of this offense are extremely short-sighted. Such photo-
graphs disgust discriminating readers and advertisers. The recent ban by the
Hays office on this type of publicity picture has caused considerable alarm and
consternation in editorial quarters where cheap sensationalism is mistaken for good
publishing business.

Photoplay Magazine has never been guilty of these offenses and never will be.

Motion picture magazines that overstep the bounds of decency deserve to fail.
And they will. They must reform or go out of business.

The exploitation of the shady side of sex is no magic talisman that lures pros-
perity. It has brought only sporadic, never permanent, success. The greatest
hits in pictures, from "The Birth of a Nation" to "Little Women," prove the truth
of this statement.

THE scenario department of M-G-M has been standing by, ready and waiting.
Lionel Barrymore, with the script to his next picture, "The Copperhead,"
under his arm, started for New York. Lionel was going to study his part en route.

Then came a frantic telegram from Salt Lake City. "Lost my script. Send me
another. Lionel."

So the studio had another copy made and rushed it airmail to Kansas City to
catch Lionel's train.

From Cleveland came another message. "Received script. Thank you. But
now I have lost the first sequence. Rush another. Lionel." Again the studio was
in a hubbub getting off another first sequence to catch Lionel when he reached
New York.

"Thanks a lot for sequence," he telegraphed a few days later, "but can't seem
to locate last sequence."

The studio arranged to wire Lionel a new entire script just automatically every
few days and save a lot of trouble.

But with parts of "The Copperhead" scattered all over the land, there seems to
be a feeling that maybe the country knows enough about the play, so what's the
use of making it?

THE word "war" keeps people away from pictures. The word "death" brings
them in. Everyone knows by now that "bombshell" made shy the public —
scenting gunpowder — until the title was hastily changed to "The Blonde Bombshell."
Paramount did a neat bit of experimentation with "Death Takes a Holiday,"
which had a sensational run on the stage. In Fresno, California, the film was shown
for three days under the title "Strange Holiday." It was only fair box-office. But
in Sacramento, "Death" on the marquee proved as great a lure to the crowd as
that grim personage does to the heroine of the film. So, with the best of reasons,
the original title stands.

IT was on "The Hollywood Party" set and Jimmy Durante was deep in a scene.
"Now your line says, 'Then we'll have to work fast,' but don't get up until you
say the word 'then,' " the director ordered.
So Jimmy read the line and just sat on.

"You didn't rise when you said 'then,' " the director chided.
A light dawned on Jimmy. "Oh, you mean 'den,' " he said. "I couldn't make
out what you was talking about."

So Jimmy read the line, "Den we'll have to woik fast," and rose like a balloon
on the word "den."

ADOLPH ZUKOR, President of Paramount, believes that the only satisfactory
way to settle actors' salaries is through the box-office test. "It becomes im-
possible to determine," says Mr. Zukor, "just what an actor is worth in terms of
salary. The only fair method of paying him in proportion to his value lies in a
share of his pictures' profits."

Actor Fredric March believes that a percentage agreement would be well worth
trying out for a few pictures. He suggests that the percentage would have to be
on the gross because "so many things are charged against the net."

Mr. March is an officer of the Actors' Guild, with a membership of several thou-
sand. While he may not bepresumed to speak for that organization, yet he probably
reflects the views of many of its members.

The percentage system has one great advantage for the producers: It appears to
offer, once and for all, an end to salary squabbles, walk-outs, jealousy between the
players, and other forms of irritating and costly friction.

THIS means gladness for everybody, especially for Isabel Jewell: Lee Tracy is
coming back. Universal will put him in "I'll Tell the World." It's a news-
paper story and you will recall that Lee's acting as a journalist, in "Blessed Event,"
put him on top of the world until a real, live newspaper yarn knocked the props
from under him.

Carl Laemmle knew what he was doing when he signed up Lee. The lad is big
box-office, Mexico or no Mexico.

GULLEN TATE, assistant director to Cecil DeMillc and known to all Holly-
wood as "Hezi" Tate, was attending a movie with his little daughter, Patricia,
when Mr. DeMillc came in and sat directly in front of them.
"Ooh, look Daddy," little Pat said, "there's Mr. DeMille."
"Hezi" said "Shush," and the child was quiet.

Suddenly, during the course of the picture, Mr. DeMille gave a hearty laugh.
"Ooh, look Daddy," cried little Patricia, "Mr. DeMille is laughing. Shall I
laugh, too?"

Photoplay Magazine lor April, 1934

PECK & PECK tells you how to save lovely STOCKINGS
from a cruel fate: "Use IVORY FLAKES"

\^ hen you're after divine sports clothes, stop in at Perk &
Peck's. And don't skip that counter where Peck & Peck
shows New York what's what in lovely stockings.

They're all vain legs could wish for — ask for "Queen
Victoria" and you"ll see 100-gauge cobwebs — .
'"Princess" is your cue for sheers, unclouded by
ripples or rings — and use 'Bread-and-butter"
as your password for stockings that are slick
for serious walking.

What will their fate be? Peck & Peck hopes
for the best . . . cautions you with these very
words, "Never tub stockings with impure soap
. . . it's too strong. Use pure Ivory Flakes and

lukewarm water." It's advice we can't improve upon!

The frailer stockings are, the fairer they seem. And the
poor darlings are at the mercy of the soap you lse. Give
them life extensions by using Ivory Flakes — those tiny curls
of pure Ivory Soap that puff into instant suds!
^ And deferring the washing of soiled stockings will
never do, because perspiration is deadly on silk
strength. After each wearing, duck your stock-
ings into pure Ivory suds. Takes but a minute!
And then! Don't waste money on fine fabrics
soaps that cost more than Ivory Flakes. \^ liv
should you? Ivory Flakes come in bigger boxes
with more soap — and cost a shade less!

IVORY FLAKES • gentle enough for a baby's skin

99 44/,

% pure

Walt Disney A

If ogres and witches give
the kiddies nightmare, as
is said, shouldn't Walt
Disney send 'em screaming
into hysterics? Well, here's
what eminent educators
have to say about that

By David
Frederick McCord

ILLUSTRATED BY FRANK DOBIAS

IRAN into Walt Disney's
"Lullaby Land" one
day, and those ogres
took my eye and ear.
How they shimmied over the
landscape! And their blood-
chilling yells! Lon Chaney
might have yelled like that, if
he had lived far enough into
the talkie era. But those
banshee bellows must have
made Boris Karloff and Bela
Lugosi feel pretty cheap.

While all the "oo-oo-oo-
oohing" was going on, a
youngster in the audience
started to cry. And kept on
crying. A lot of shushing was
needed to handle the situa-
tion, and the incident started
my brain working, my
mental boiling point being
practically zero. What I
started wondering was this:

How many other children have been frightened by this picture? How many
have been kept awake or given nightmares by the Big, Bad Wolf, the wicked witch
in "Hansel and Gretel," or the rats in "The Pied Piper?"

While I was still worrying about this, I ran into a Mickey Mouse comedy called
"The Steeplechase." In the first half, the fun was based on a horse getting drunk;
later, there was a shift to such humor as lies in collecting a large number of wasp
stings. By this time my mind was working at such a rate that I was practically
thinking.

I recalled that about twenty-five years ago, all the really nice people were up in
arms against just that sort of humor in the comic strips, and wouldn't have it any
other way than that such low stuff was ruining the future generations, etc., etc., etc.
Well, as I said, pie-eyed horses and wasp stings were part of the stock in trade of
the funnies when I was just a wee tot. But now this Disney, who frequently does
the same sort of thing (you'll recall the Big, Bad Wolf's final exit) gets a medal for
all he did for the kiddies in 1933. Times, as the boys say, change.

I asked a buddy of mine about it. He seemed a good bet, because he is the father
of six-year-old twins, and has, now and then, in the course of his job, to pick films
for children. This is what he told me. His own youngsters slept badly and had
nightmares after seeing the B. B. W.
Also, he has to reject for juvenile con-
sumption about six out of eight Mickey
Mouse films, for such reasons as the
hipped horse and the wasps.

So I decided that I had better go out
and discover if, by any chance, our more
serious thinkers view of the great Disney
with alarm, as some have, in recent years,
viewed fairy tales and Mother Goose.
It's the nursery rhymes and fairy tales
that give Disney most of his material;
and it's these nursery rhymes and fairy

Is this Disney a sort of Dr. Jekyll who exerts a Mr. Hyde influence through Mickey Mouse?

Menace

To Our Children?

tales, we've been assured on academic authority, that create fear, primi-
tive thought, subjectivity, the idea that things can happen by magic,
and that, in general, unfit the victim for a happy and useful life in the
shipping department.

The fight that breaks out periodically on this subject can always be
depended upon to produce a good supply of horrible examples, such as
that of the little girl who came to no good end just because her mother
told her the story of Goldilocks and the Three Bears. And Heywood
Broun is sure to chip in with the story of how Little Red Riding Hood
practically ruined his youth.

"I'll look up Professor Harry A. Overstreet, the boss philosopher of
the College of the City of New York," I mused. "A few years ago, accord-
ing to quotations, the professor needed a sedative every time he thought
of fairy tales."

Then —

"There's Dr. Alfred Adler, inventor of the inferiority complex. He
felt the same way not long ago. He lives in Vienna. Will Photoplay
pay my expenses over to interview him? Or shall I see Dr. Walter Beran
Wolfe, his translator?" I asked myself.

"Hum, better see Wolfe," I concluded.

"I'll go up to Teachers' College at Columbia University. They had a
fight just a few years ago over whether fairy tales should be told to
children."

I was working myself up into quite a state of excitement.

"I'll go down to see Miss Irwin at the Little Red School House.
I'll see Helen Ferris, who edits children's books for the Literary Guild.
I'll interview Professor Charles Gray Shaw of New York University, who
said that whistlers are morons.

"I see in the papers that the Detroit Board of Education has just
turned thumbs down on fairy tale decorations in the schools. I'll write
out there.

"In the meantime, it ought to be pie to get a snappy denunciation out
of a nervous mother in some Parent-Teachers' Association. Merely
child's play for a first-rate promoter of ill-will like myself."

I was having a grand conversation all by myself.

WELL, I've talked to all these people, and if you want a fight, I
guess you'll just have to go out and sock a cop.
The news is that Walt Disney has changed the psychology of the child
psychologists.

I called up Miss Ferris first of all. "I want to ask you if you think
that 'Three Little Pigs' is a menace to American childhood? " I told her.

" Come right down," she answered. "I
think they're simply marvelous!"

My heart sank just a little. After all,
you have to hate "Three Little Pigs" to
be news. But you also have to have two
sides in a controversy. So I went down
to Miss Ferris' office, all merry and
bright. It turned out that Miss Ferris
really meant it when she said "marvel-
ous." I sat in her office for the better
part of an hour, dangling crying babies,
ogres, big, bad wolves, witches and inebri-
ated horses in [ please turn to page 92 ]

Are children affected by any lasting fear of the Big, Bad Wolf ? Read what psychologists say

"My best friend is my boss," says
Jean, denying that she and Louis
B. Mayer fought about her salary

AM not going to separate from
my husband. There has been no
fight between the studio and my-
self."

With those two plain statements
from Jean Harlow, intended to set a
thousand feverish rumors at rest, she
reported to M-G-M to go back to work.

In her first exclusive interview since
her reconciliation with her studio, Jean
gave me her version of the whole situa-
tion.

In the first place, she said, she did
not strike for any of the ridiculous
sums printed — not ten thousand dol-
lars, or even five. As a matter of fact,
Jean's salary is less than that of several
stars who do not line up the customers
at the box-office half so successfully — as she h

Her contract called for a raise in salary at thi
contract is a contract.

If your idea of Jean is formed by the characters she plays
then behold her out of character. Be-
cause off-screen she very definitely
out of character.

It certainly was not By Rlitll

Jean Battles A
Sea of Rumors

Clever Miss Harlow keeps
her head up as she denies
war with studio and hubby

a "Red-Headed
Woman" who
walked back and
said, "I'm sorrv.
I truly didn't
realize the spot I
put the studio in by
asking for more
salary at this
time." Yet, the
real Jean Harlow
did exactly that.

And the real
Jean Harlow ex-
plained: "You
can't fight with
your friends — and
Louis B. Mayer is
the best friend any
girl in the world
could have. I
could never tell
you how wonder-
ful he was to me at
the time of Paul's
death." ("Paul"
was Paul Bern,
Jean's second
husband, whose
tragic death oc-
curred in Sep-
tember, 1932.)

"But my best
friend is also my
boss. And he is
the only one I can
go to in matters t f
business. I would
trust him implic-
itly to do the best thing for me, always.
When conditions are better in the amuse-
ment world, I know he will accede to my
request on the salary situation.

"There has been no fight so far. But
if I remained away long enough to seri-
ously inconvenience the production sched-
ule at the studio, it would amount to that.
"As it is, I have not been away longer
now than I usually am between pictures.
Not as long as I have been in the past;
between 'Red-Headed Woman' and 'Red
Dust,' for instance.
"The situation, until now, has been too delicate to discuss.
But at this time I want my friends to realize exactly what has
been my position. I want to repudiate all the absurd state-
ments that have been made as to my unreasonable demands,

and let them know the truth.
n , . "Being a picture star is an expensive

SxCiTl kill privilege. [ please turn to page 112 ]

Their smiles deny
the rumors about
Jean and her hus-
band, Hal Rosson.
But gossip keeps
on flowing

Jean went back to M-G-M,

and said she was sorry she

asked for more money

s pointed out.
time. And a

Let others discover stars — Christie found a village! Al Christie, standing near the pillar behind the car, is
directing "Spick-and-Spanish," which was written in rumba rhythm to fit the Spanish set

A Rip-Roaring Rumba

He clapped his hands

AL CHRISTIE walked
into the Astoria studio,
Long Island, one morning
recently, and came face
to face with a Spanish village.
Moss on the walls, sun-plashed
patios, and everything. Some-
body had left it there. Forgotten
it, apparently. Al was delighted

three times, summoning his editorial department, and sug
gested that a Spanish scenario be written to fit the Spanish
set. It was.

One of the publicity men, seeing the set for the first time,
was quite aghast at its extravagance. "Why," he cried, "that
is almost colossal! In Hollywood, it would be colossal!"
Since it was Spanish, there had to be a rumba dancer.
We trotted out there the day the dancing sequence was shot,
to watch Nadine Rue do the rumba.

She was dressed in regular rumba uniform — above the waist,
very little; below the waist, a long tight-fitting skirt with ruffles
around the ankles.

She rumbaed beautifully. But just as the cameras began
to grind, the tight skirt split. She went rit°;ht on dancing,
however, thinking nothing of it. One more backward bend, and
the skirt slit clear to the floor. (Even so, it was far more
modest than some dancing costumes.)
In the meantime, the wardrobe

The rip was in a dancer's
skirt on the old Spanish
set at the Astoria studio

woman was rushing around, looking Li y 111 I I CI V C CI 31 G SI I II

for a needle and thread. But she
couldn't find one. Then some-
body pointed out that the split
skirt effect was new for the rumba,
and really quite becoming. There
was a brief consultation.

"Leave it split," was the ver-
dict. So split it was — through all
the dancing sequences. And very pretty, too.

Maybe we're childish. But the thing about the rumba
dancer that delighted us wasn't the split skirt at all. It was
that she ate chocolate cake all the while she rumbaed. Not
when her solo dance was actually filmed, of course, but during
all the rehearsals. It was exciting, watching her maneuver
those quick little rumba wiggles, those long, rhythmic swirls —
and never so much as dropping a crumb.

Delighted, we mentioned her expertness to an electrician,
who was idling at the moment.

"Yeah," he answered, "she's temperamental."
The only obstacle that arose that day was an atmospheric
one. They needed smoke for the inn scene.

"Smoke up!" Al Christie commanded, handing out cigarettes.

Everybody puffed and huffed on Al's cigarettes, but the

amount of smoke was negligible. At last a little man came in

with a bucket of burning wood and a fire-place bellows, and

went scurrying around bellowing smoke

in everybody's eyes. Al nodded. Pro-

duction went on.

<:<!

I Had To Leave

HAD to leave John Gil-
bert, and there will be no
reconciliation."

Virginia Bruce was
emphatic. She usually speaks
of him as "Jack."

"I have retained W. I. Gil-
bert as my attorney, and I shall
sue for divorce."

The pretty, blonde fourth
wife of the dashing screen lover
was talking in the home of her
parents, Mr. and Mrs. Earl
Briggs, at Beverly Hills — a
home Gilbert gave them. Yir-.
ginia went there after her final
break with her husband and
took Susan Ann, their seven-
month-old daughter.

"I do not think Jack will
contest the action," she said.

"Our separation was not
brought about by any particu-
lar quarrel or climax. I simply
realized that it was impossible
to go on living with Jack, mak-
ing myself and him both ter-
ribly unhappy. There were so
many things which made it so,
I just had to pack up and leave.

"Jack, for one thing, is ex-
tremely nervous and high-
strung. My nature is just the
opposite. I am quite passive.

"Our conversations became
dramatic episodes. And we
were together continually. Per-
haps too much so.

" I still think he is the grand-
est person in the world. I was
very much in love with him
when I married him, and all the
while we were married. But
living together is something
else.

' 'He did not want to go out,
to shows, to parties or dances.
He had had so much of that in
his time. But I had not.

THE difference in our ages
meant little, except in this
respect — that I am young
enough to want social life, while
people make Jack terribly nerv-
ous and temperamental."

This was no news to anybody
who knows John Gilbert. His
temperament has been some-
thing to be reckoned with ever
since those early days when he
played in the silent picture ver-
sion of "The Merry Widow," and be-
came, overnight, the screen's most ex-
citing romancer.

But more of this later. What Vir-
ginia Bruce had to say about Gilbert's
temperament was this:

"I don't think Jack should be mar-
ried— he just hasn't the temperament
which makes it successful.

"His state of mind makes mountains
out of mole hills. He is always quite

1932 — when love was fresh and hopeful. Their

betrothal was known the day Virginia started

work in John's own story, "Downstairs"

She yearned for fun;
he was sullen, moody.
She's fond of him, but
won't remain his wife

By Virginia Maxwell

sure that no one likes him, that
the world is down on him,
when everyone, including my-
self, thinks the world of him.
It is also harder for Jack to fit
into marriage than most
people, because he never had a
home when he was a boy.

"There was no one else in
my life, or in Jack's. I know
that.

"It was just my conviction
that it all had to end sooner or
later, and the decision to end
it now, before we made each
other more unhappy, and while
I am still young enough to
start anew, seemed the only
logical thing to do."

As though she did not want
it to appear that her ambition
was an immediate cause of the
split, Virginia explained:

"THAVE no plans at present
-L for resuming work. Later,
perhaps. . . .

"Maybe I made a mistake
in abandoning my screen career
when we were first married. I
was advised against retirement
by studio officials at the time.
They said that a man with
only two pictures a year to
make would have a lot of spare
time. If I were idle, too, it
might throw us together too
much.

"But if I had kept on with
my career, things might have
been even worse. You see,
Jack is demanding and he is
jealous, too.

"I'll always be terribly fond
of him, and always glad to see
him. I hope he comes here
often to see Susan Ann.

"But we could never make
marriage work. I'm sure of
that, because I tried terribly
hard. I was sincere in my
efforts to make a go of it. I
did everything I could — but
it was just impossible."

Virginia's hope that Jack

will come often to see Susan

Ann recalls how he has wanted

a son — and has had two

daughters. Charming Leatrice

Joy, once so popular in silent

pictures, is the mother of his

other child, now nine-years-old.

Poor Gilbert never seems to have

gotten what he wanted — never has been

satisfied with things that would have

puffed the satisfaction of many another

Hollywood personage to balloon-like

proportions. He has had plenty of

critics, many of them harsh, even cruel.

But few have written and talked of his

career with such severity as he, himself,

has.

Virginia said he had no home when

John Gilbert

Virginia Bruce

he was a boy. Well, he did not have a real one,
and surely the shifting backgrounds of his boy-
hood must have much to do with his peculiar
temperament.

His parents were theatrical people, troupers.
Jack was born in Logan, Utah (July 10, 1897),
and christened in Montreal, Canada, three thou-
sand miles distant.

He was in a military school in California — four-
teen-years-old — when his mother, Ida Adair, died.
He has taken the name of Gilbert from his step-
father, and had only a vague, if any, memory of
his real father.

This, then, is the Jack Gilbert that Miss Bruce
says is made "terribly nervous and temper-
amental" by people. He is the man who would
not take her to parties and places where she could
see life. Because he had seen enough!

Yet, with all the faults he may have, women
find him irresistibly attractive. And there are
those who believe Virginia is still in love with him.

All of his wives have been fascinating women,
and two of them were famous.

Olivia Burwell, his first wife, was a dark-
eyed, dark-haired Southern beauty of
twenty years when Jack married her
Theirs was impetuous, youthful
romance. Their wedding was
in 1918. Whatever dreams
she herself had of a glitter-
ing Hollywood career
ended then, it appears.
And Jack could not get
started on his. They
were divorced in 1922.

Leatrice Joy had a
screen reputation far ex-

Vivacious Ina Claire
was Gilbert's third
transient wife. This
wedding followed the
Garbo romance

Lovely Leatrice Joy, Gilbert's

second wife, meant only brief

joy in his stormy life

Mrs. Gilbert No. 1 — for four

years. Olivia Burwell's was

youthful, flaming love

"I still think he is the grandest person in the

world," Virginia, wife No. 4, says of the father

of seven-month-old Susan Ann Gilbert. John

wanted a son ; he has two daughters

ceeding Gilbert's, when thev married March 2,
1923. They were divorced August 19, 1924. Their
daughter was born a month later.

Between that marriage and his next, to Ina Claire,
came the tempestuous Garbo romance.

Gilbert had skyrocketed to fame. He was an over-
night sensation in "The Merry Widow," with Mae
Murray — one of his best friends. But the great
Greta from Sweden entered his life, and seemed to
sour the taste of his success by her evasiveness in

THE most sought after social lion in the film colony,
he had time only for Greta Garbo. He was prac-
tically in retirement. And he passed up many an
invitation to gay parties to stay home and stare
dreamily into the crackling fire — with Garbo's face
no nearer than a picture in the flames.

Do you remember when he and Garbo eloped to
Santa Ana to be married? Something happened to
thwart him then, too. Those who knew both Gilbert
and Garbo intimately at the time, agree that the
elopement was no staged publicity stunt. When Gil-
bert returned to Hollywood alone he was a dis-
appointed and much more embittered man.

Vivacious Ina Claire of the Broadway stage went to
Hollywood and, somehow, her vivacity did not get
over so well on the screen. But it got over with the
pessimistic Gilbert — such [ please turn to page 109 ]

Ladies as Mr. Menjou

By Adolphe Himself
as told to Kirtley Baskette

If Men j on were a woman,
here are some things he
would not do. He'd shun —

Enough eye-shading to cast
suspicion of a "shiner"

The connoisseur of fair women in person — and a

rather violently checkered sports coat. Suave

Adolphe is certain that if he were a woman, Mr.

Menjou would be his favorite actor

IT is always intriguing, but often dangerous to
speculate — especially about women.
So, in delivering myself of a series of purely per-
sonal and rambling thoughts on what I would and
would not do if I were a woman, I should like to state
flatly that nothing in the manner of a sermon, tome,
prescription, or even a message is being attempted.

It is purely a one man's-eye view. If I really were a
woman, doubtless many of these ideas would be dis-
torted by a very different perspective, and perhaps
badly damaged by experience. But I'm not (and let
me preface my remarks by saying that I am perfectly
satisfied on that score), so I can hew right to the line
and let the quips fall where they may.

First of all, and foremost all the time, if I were a
woman, I would strive very hard to maintain a balance
— in my dress, in my habits, in my personality, in my
friends. I would avoid extremes like poison. I'd keep

Lip rouge applied to suggest
an unpleasant accident

Large, "gaudy" jewelry and
huge, ungainly earrings

away from trick and sen-
sational fads in dress,
jewelry and coiffures, be-
cause I would realize
that being spectacular
isn't always the same
thing as being attrac-
tive.

I would study my col-
oring, and in doing so
I'd probably discover
the amazing fact that
the natural shade of my
hair did very well with
the pigment in my skin,
my eyes and other fea-
tures. So I would not
alter the color of my
hair no matter if I had
read somewhere the still
unproved but universally
prevailing belief that all
gentlemen prefer
blondes.

I'd continue the re-
search a little farther
and analyze my good
points of appearance —
and my weak ones. All
women don't have ex-
quisite hair, beautiful
teeth, lovely eyes or a
flawless figure. But I'd
find out which of those I
did have, and learn to
make the most of them
in my dress, mannerisms
and general make-up. I
wouldn't worry about
being classically beauti-
ful, especially if I had
confidence in my mirror
and myself. I would,
however, discover some
way to be attractive,
to grade down my defects
and display my strong
points — not only phys-
ically, but intellectually
as well.

But no matter what
the score was when I had
come to some decision
about myself, I would
never, never do a num-
ber of things.

I'd never wear long,
dangerous, Oriental fin-
ger-nails, formidably
feline enough to scare
anyone away with their
dagger-like points. I'd
never color them scarlet
or crimson, or polish
them to a bloody brilli-
ance. But I'd keep them
impeccably groomed.

Likes Them

I'd apply lip rouge carefully and sparingly to avoid looking as if I
had just had an unpleasant accident. I'd never use enough eye shading
to cast suspicion of a "shiner," or pluck my eyebrows down to a pencil
stripe. My perfume and scents would be only faintly detectable about
my person, never overpowering, and when I selected one which suited my
personality, I'd stick to it.

And to be well-groomed
as a woman, he says he
would avoid these fads —

I woidd never do my hair
in queer twists and eccentric
cuts. If I possessed evidently
straight hair, I wouldn't
steam it into a mass of plainly
artificial ringlets.

If 1 were short I'd not wear
a close bob. And I would
avoid acquiring a "fussing"
complex — fixing my hair,
powdering my face, or roug-
ing my lips in public — par-
ticularly in a restaurant or a
theater.

Costume jewelry of any
kind would have no place in
my jewel box. I would realize
that it is vulgar, ostentatious
and cheap. Even large,
gaudy jewelry, no matter
how genuine or how costly, I
would refuse to wear. I
would choose small, delicate,
finely wrought jewelry of the
finest quality, which could
never possibly attract undue
attention.

I'D never wear huge, un-
gainly earrings. Or a
monocle, unless, of course, a
genuinely bad eye absolutely
demanded it.

I would never display my
bare feet on the street — even
if I had feet to make a sculp-
tor rave, and the chances are
I would not have. I would
not color my toe-nails, put on
sandals and walk around out
of doors. On the beach, yes,
but never on the street! I'd
never wear pajamas out of
the house, or perpetually in
the house. There are places
— and times — for pajamas
and sandals.

I would step before a mir-
ror and take a long look at
myself in trousers and, after
noticing the revolting spec-
tacle, turn over all pants and
slacks to the gentleman
friend. They were originally
designed for him anyway, and
with good reason, as the mir-
ror should point out con-
vincingly.

I'd do the same thing with
knickers, and just to settle
all possible doubts, I'd don
silk stockings and high-heeled
shoes with the knickers, and
take another look.

I'd shun masculine tailored
suits, shirts and ties, mannish
brogues and hats, and close-

Formidably feline, highly
colored finger-nails

Pr.nts, slacks, and masculine
tailored clothing

x^Ct

Colored toe-nails and sandals
on the street

Is this your perfect woman, Mr. Menjou?

Reports of your interest in statuesque,

blonde Vcrrce Teasdale seem to indicate she

meets enough of your requirements

clipped haircuts. Some very few women look well
thus tailored, at a dog or horse show, but I'd play
safe.

When I went downtown shopping or on business,
I'd dress plainly in dark clothes and not look as if
I were headed for a lawn party. The minute I had
my clothes on, I would try to forget I was wearing
them. I'd be a little firm with my modiste and tell
her what kind of clothes I should wear, instead of
letting her experiment on me. If I had a not too
good figure, the gowns wouldn't be tight to parade it.
And by the way, I'd always be sure that my heels
weren't run over; that my petticoat was well above
the danger line.

On the street I would keep my cigarettes in my
purse, fighting down the temptation to light one.
But I would keep some in my purse, not only when
alone, but when out with [please turn to page 115]

The new Clark Gable with Elizabeth Allan in "Men in White."
He is playing man-size roles now — really acting

A pawn for glittering
women stars suddenly
blossoms as an actor

By William
F. French

Now Clark is a little sorry he was so un-
complaining— but, after all, you can take
his word for it that his was a soft berth.
"Like going to fame in a wheel chair," to
use his own expression.

" It's all crazy," he had said, "but it sure
is a lazy man's job. Little work, plenty of
money, and lots of time to enjoy yourself.
Just luck for me, that's all — just a big apple
of luck dropped in my lap."

And, after the bitter struggle Clark had
known, it was an apple of luck in his lap.

Clark harbored no illusions of grandeur.
He knew he was just a pawn, put there to
reflect the glory of the women stars, and to
bring a few "ahs" and "ohs" from the more
susceptible femmes in the audiences.

Occasionally he would say, almost timidly:
"Gee, I wish they'd give me a chance to do
some comedy. That's what I was best at
in the stock company back in Houston."

But Gable had too much box-office value
as the heavy menace to the purity of the
lady stars on the M-G-M lot, to be allowed

THE Clark Gable who played
second fiddle to so many
glittering feminine stars is
no more. And, we might
add, he was practically buried in
"Dancing Lady."

Clark Gable, the actor — a new
thrill for the ladies and a pleasant
surprise for the men — comes to life.

And all Hollywood is mighty
well pleased.

Hollywood didn't hold it against
Clark Gable that he was popular
with the fair sex. It even forgot
that he did a minimum amount of
acting per picture, while he was
playing foil to Garbo and Shearer
and Crawford and Harlow. In
fact, it actually forgave him for
demonstrating how the rough and
tough, hard-to-get hero finally suc-
cumbs to the relentless heroine in
boudoir, grass hut, or what else.

Everyone on the lot from
director to grip's helper, would tell
you, on the slightest provocation,
that it wasn't Clark's fault. The
girls fought to have him play op-
posite them, and the executives
regularly sacrificed him to make a
maiden's holiday.

Besides, Clark was there to re-
flect the glory of the girls, and to
thrill feminine enthusiasts in
Dubuque and New York City. His
job was to inspire tired shop girls
with aching feet and console weary
spinsters — and he did it uncom-
plainingly. Quite willingly, in fact.

Clark Gable Cuts

the Ap

ron

Strin

J!j

W '

■ *

5j|

Kc*fliE§tini

Wk-.>

■ ■-,.,

P^.'

to go fooling around with comedy. And as
the he-man who repulsed the alluring girls,
Clark was just too sweet. So bang! went
his prospects for a real chance to show his
wares.

It was more or less Clark's own fault, of
course — and he admitted it. He didn't
fight executives, casting directors, writers
and directors all over the lot, trying to get
better parts. Unlike Crawford, and the
other women stars, he didn't battle in-
cessantly to reach the top.

Clark was never aggressive — and none
knew it better than he. Life was a shoe
that Clark liked to wear easy.

So, after the girls got what they wanted
Clark's parts were made up from what was
left.

Consider "Red Dust," for example. That
story was built for a

Gable's chance to
mix comedy and ro-
mance came in ''It
Happened One
Night." Claudette
Colbert is the girl

woman, fitted to a
woman, directed for
a woman, and cut
for a woman.

[ PLEASE TURN TO
PAGE 122 ]

Dolores Ji/xtols r<

"~\ "T" TOMEN are always happier in passive

\ A / love»no?"

^/\/ Dolores Del Rio was speaking of

American girls compared to those
sheltered Latin ladies below the Rio Grande.

The glamorous Mexican senora, stretched out on
a white satin chaise-longue, was the perfection of all
that quiet charm so many of her countrywomen
exemplify.

Her golden skin, smooth as mellowed ivory,
and her dark, flashing eyes bespoke the lure of
those maidenly senorilas who peep at life from
behind cloistered shutters.

"Life does not hurt sheltered women," Dolores
explained, when we pressed her for more. "There
are no disillusionments, no rash disappointments
for her to suffer through. She knows only the
sweet beauty of love and the joy of her own calm
domesticity, you see.

"It is such a natural thing for women to do simple things; to be kept
in seclusion by their men. I sometimes wish I could have been like
those other convent girls I went to school with in Mexico.

"But I have the blood of the conquistador in my veins. And it
made me want to step out of the sheltered life and do things
for myself.

"I wanted a career. And I was considered strange and
wild to even think of such a thing.

"But I have paid for my picture success a thousand
times over — by suffering disappointments, disillu-
sionment, heartbreak and worry. Yet, in spite of
all that, I would not exchange my freedom for
anything in the world."

That vast army of American business girls, who
feel the same way about their freedom, flashed
through my mind ; girls who enjoy their stenography
or their clerking or their selling. And who, through
the pay envelopes they carry home each week,
have been able to go about with the freedom only
their brothers and fathers enjoyed a little while
back.

"American girls go after life with much
gusto," Dolores smiled.

" It is like this: They know what they
want from life, whether it is a career or

assive

Our girls amaze
this flower of Old
Mexico, with their
flip, unbreakable
carefree hearts

By Katherine

Franklin

The passive manner —
Dolores is touched by
the Latin technique
Ricardo Cortez uses in
this amorous scene
from "Wonder Bar"

Del Rio meditates upon
the love life of sheltered
women below the Rio
Grande. She chose a
career instead

marriage or a sweetheart.
I admire them so very
much. And they almost al-
ways get what they want
from life, too.

"I see it this way: A sweet-
heart comes and makes love.
A girl falls deeply in love with
him. If it does not turn out to
be a smashing romance — pouff! —
she slaps on her little beret and goes
out after a job, or a new interest — or
maybe a new boy friend!
"It is all so simple here. I am always amazed
how quickly American girls can get over a
broken romance. In my country, girls die for
love. When the adored one does not respond
with lasting affection, the Latin girl has been
known to pine away, in quiet solitude, until
she died."

I smiled a little, for this spirit seemed so far
removed from our American feminine standards.
"It is really beautiful and very sentimental
to suffer for love, no?" she said quickly, as if
explaining the attitude of the Latin woman
with complete sympathy.

"It is a sort of fulfillment in itself; a grand,
magnificent sacrifice, [please turn to pack 106]

Anna Sten

The Million Dollar Gamble

Sam Goldwyn seems
to be the winner as
his Soviet star gets
critical recognition

By Hilary Lynn

The two men watched the
moving drama on the screen
in a kind of breathless silence.

When it was over, the censor
let out an enormous sigh and
turned to Goldwyn, slightly
abashed.

"Sam," he said, "I have to
ask a great favor of you."

It was an awful moment!

Anna Sten salutes Phillips Holmes, her war-conscious lover for whom she
emotes and dies in "Nana," her long-heralded American debut film

A SERIOUS-FACED
gentleman sat in the
projection room, waiting
for the movie to be
shown. He was there on busi-
ness. He carried with him a long,
sharp pair of scissors. For
he represented Will Hays? office,
and he was there to censor the
film, "Nana." The scissors were
particularly sharp because the
gentleman knew that Zola, the
author of "Nana," was a French
novelist who left nothing to the
imagination. And that the book
"Nana" was concerned with the
life and loves of a demi-mondaine.
Next to the serious-faced censor
sat Sam Goldwyn, nervous, anx-
ious, fearful that the scissors
would whack out great chunks of
his precious picture, and that
dozens of expensive and ruinous
retakes would be necessary.

Two years ago, Anna
starring in German
films, looked like
this. Sam Goldwyn
saw her and signed
her to come to this
country before she
learned English

This girl from the
Ukraine was popular
with the children of
Berlin, as you can see
by this photograph
taken there, before
she dreamed about
America

'•*fSHPp

"Sam," said
the shamefaced
censor, "will you
run that picture
over again tomorrow
morning for me? I
was so lost in watching
Anna Sten, I forgot to at-
tend to my job. That
woman's dangerous! She
makes men forget."

That's Anna Sten — the
actress!

Born in Russia, into a life of
poverty and hard work, beauty and
glamour existed for her only in
imagination. Life itself was practical
and cruel. And in the stern Russian
Commune, the only escape into the
world of imagination is through the
theater. So, to Anna, acting became life.

Thus it has always been to her — a thing
that is real, and serious, and not to be taken
lightly.

Upon arriving in Hollywood she said, "I do not
want to be heralded; I do not want to be discussed
until I appear before the public in mv picture.
Whatever I have to say will be said by my perform
ance. If that is not good, I'm not
worth talking to, anyway."

And Sam Goldwyn was in accord
with this strange, un-Hollywood
attitude. It was the philosophy cf
a true artist.

BEFORE the premiere of "Xana,"
I was one of two magazine
writers permitted to interview Miss
Sten.

Nana stood before me, twisting
an impertinent ruffled parasol, and
looking at me with clear, intelligent
blue-gray eyes under the tilt of her
impudent bonnet.

"What are you going to ask
me?" she said, seriously. "You
see, I am a very prosaic person.
and I cannot think out — what you
call — those bright answers at this
moment. Ask me your questions
now, and I will go home and think
out true answers which will interest
you!"

To a hardened interviewer the
idea of a movie star going home
and seriously thinking out true an-
swers was unheard of! But that is
Anna Sten. Serious, intense.
Everything — even an interview —
must be done right and to the best
of her ability.

In my first few moments' con-
versation with her, I recognized
that Anna Sten has the simple ways
and directness of the peasant, and

The flower of the million dollar, two1

year Hollywood experiment — Anna

made the critics rave!

Anna's Nara is

not the unregen-

erate character of

Zola's novel. Miss

Sten's Nana has a

heart, but it isn't for

Lionel Atwill

the instinctive warmth, the
human understanding of a
fine actress. Added to that,
she has the versatility of a real
artist. Before the camera, she
can become an enchantress, in-
toxicating men with her half-in-
dolent glances and her low melodious
v< ice. At will, she can touch her
audience with a scene of moving pathos,
and the next second become a charminj
comedienne, delighting with her gaiety.
That is Anna Sten — the artist.
At home, Anna Sten, the woman, is a wife.
Her husband is Dr. Eugen Frenke — a sturdy,
dark chap with a persuasive jaw and piercing
black eyes. He reminds one, in appearance
of Yen Sternberg. He looks very much as if
he knew what he wanted and how to get it. A
German, an architect, a man of
private means, he recently com-
pleted an experiment in inde-
pendent picture-making. It's a
fantasy, starring Jimmy Save, that
Broadway old-timer.

Dr. Frenke, being a wise hus-
band, is perfectly content to play
the maestro in the domestic rela-
tionship, and to leave Anna alone
in matters of her dramatic career.
However, Dr. Frenke does have
ideas on the kinds of parts his wife
should play. And he sums them
up in a quaint German-English
phrase. "She should play," says
he, "characters which are in the
mud."

WHAT he means is that Anna
Sten should be cast in roles
that are expressive of the common
people. With millions of her suffer-
ing countrymen, she lived through
the blood-soaked years of the Rus-
sian revolution. And few sta*s
have ever brought to Hollywood
the depth of human understanding
and experience that she brings. So,
her husband believes, this should
not be wasted. She should be
given roles which interpret the
needs, the hopes, the lives of the
common people.

The character of Nana is a far
cry from the real Anna Sten.

[ PLEASE TURN TO PAGE 116 ]
U

"Scandals" — on the screen. Alice Faye comes

in and finds Rudy Vallee entertaining Adrienne

Ames. The scene is from the Fox adaption of

George White's stage success

Fay Webb — bru-
nette and beautiful.
But her romance
with Rudy lasted
less than two years

By Nina
Re men

RUDY VAL-
LEE is still
seeking the
girl of his
vagabond dreams.
But he is beginning
to fear that they will
never come true —
that he'll never find
her.

"I've taken a lot
of ribbing about
that ideal girl,'' he
says. "Well, I still
have the ideal, but
I doubt if I will ever
find anybody to fill
the requirements."
Five years ago,
before Rudy's marriage to Fay Webb — be-
fore the flood of rumor and scandal accom-
panying their divorce proceedings, Yallee
described to the world the kind of girl he
wanted to marry. "The girl," he said, "of
my vagabond dreams."

Among her attributes were these:

Her face and form must be beautiful
and she must be a brunette.

She must not be too young. A wife of
twenty-five would be all right for me.

She must be faithful. And I wouldn't
inquire too closely into her life before I
knew her.

The modern girl who insists on paying
half the bills would have no charm for me.

My ideal girl would not drink with an-
other man if I were not present.

She would have patience and under-
standing enough to leave me alone when I
wanted to be alone.

Rudy Still Has His
"Vagabond Dreams

Alice Faye and he
are an ideal screen
couple. But both
deny rumors of a
romance. So Rudy
must just keep on
dreaming

Rudy's first wife,
Leonie Cauchois —
their marriage, in
1928, was annulled
just twenty-three
days later

When Vallee described
the dream girl thus, in
1929, he was keeping a
close lookout for her, and
his hopes were high. He
had already been married
once, but his ideal was not
touched by disillusion.

Finally he found Fav
Webb.

Today, the search is on
again — and the standards
are practically the same
— but his chances of find-
ing her, he thinks, are
slim.

"You see," he explains,
"I've lost faith in so many-
people. And I've found
that usually where there
is a great attractiveness,
whether it is beauty or
talent, there is always an
accompanying weakness.

"I mean that for more
than one person I've
known in the past few-
years. People you trust
in business or socially.
Loyalty seems to be an
unknown quality these
days.

"I doubt if I ever
again could have complete
confidence in anyone, al-

[ PLEASE TURN TO
PAGE 123 ]

Bert Longworth

T)ETTE DAVIS looks very smart in one of those new, charmingly
JJsilly bell-hop caps. Hers is of jet bugle (they're beads), and matches
the collar of her dress. By the way, that hair-comb is sweeping the
country — very effective, too — straight on top and curled at the ends.
Bette's latest picture is "Jimmy the Gent." Mr. Cagney is the gent

Tramp! Tramp! Tramp!

JJOLLYWOOD'S the
place where such
dreams as Joan Craw-
ford and Jean Harlow
really walk! Stars by
the dozens are mak-
ing the "constitu-
tional" a daily habit.
It sets 'em up for
work. Get an eyeful
of these tricky pedes-
trian costumes. With
the men it's style to
walk the dog

Top row: Jeanette
MacDonald, Mae
Clarke and Sidney
Blackmer. Bottom
row: Mary Brian,
Robert Young, Jean
Harlow, Jean Hersholt

Fred Hendrickson

WHEN Colleen Moore finished making "Success Story/' she went
home to rest and forget cameras for a while. But a photographer
trailed her. And Miss Moore obligingly posed for this portrait; in
the library of her beautiful Bel-Air home. Between pictures Colleen
spends most of her time in New York — with hubby, Albert Scott

Superstitions
Guide Her

From Producer
To Actor

'"TUNE KNIGHT — June Ninth.*' Last summer, the Uni-

I versal studio bulletin board thus poetically announced the
** triumphant home-coming of a blonde Hollywood dancing
daughter. She had gone clear to New York and got herself
discovered by the late Flo Ziegfeld, and that made her a per-
sonage at the studio, only a pebble-toss from her home.

June was born in Hollywood, literally raised in the shadows
of studio walk, and was graduated from Hollywood High
School.

When she was a small child she couldn't walk a step for
three whole years, and doctors gave her up as a cripple for
life. But eventually she recovered enough to study dancing,
and dancing developed those nimble, shapely legs that pleased
Broadway in "Hot-Cha" and '"Take a Chance.''

Today, she is five feet, five inches of lissom loveliness. Her
blue, baby-wide eyes dart laughing over a wide, mischievous
grin. Work is a lot of fun to her, and no one at Universal can
remember her in a bad humor.

June sings, too — practices singing daily along with her dance
exercises, which are something of a religion with her.

June's back and shoulder muscles would make a physical
culturist rave with joy. She could almost hold her own with
a prize-fighter. In fact, she more than held her own with that
two-fisted lady killer, "Max Baer. Their romance ended —
and June has lived to tell the tale.

Her latest picture is "Cross Country Cruise."

She really doesn't practice what she preached on stage and
screen in "Take a Chance." In fact, she lives in a maze of
superstitions that control her every move.

If you visit June in her dressing-room and happen to whistle,
you will find yourself hustled outside, where you will have to
turn around three times — to break the jinx. Then you'll be
eligible to stay as long as you like.

NAT PENDLETON was a producer of motion pictures — -
for an independent company in New York — before he
won any prominence as an actor. He got ahead as a
screen player because he could look like a "lug" and handle
"lug" roles better than any ten bona-fide thugs. Yet Nat is a
graduate of Columbia University, speaks four languages, and
loves to play little "love ditties" on the banjo. He even sings
them.

He was a professional wrestler, and previously, as an amateur
he won an Olympic Games wrestling championship.

Stage experience in New York came next, with Nat racing
over to Madison Square Garden between the first and third
acts for a wrestling match. And then racing back to the third
act with a black eye he certainly didn't have in the first act.
No one could stop him. Nat wanted to wrestle.

His uncle, Arthur Johnson, was a movie star, and Nat played
child bits in his uncle's pictures for the old Lubin Company in
Philadelphia.

Nat came to Hollywood from the stage, playing bits here
and there. He wrote a screen story about wrestling for
Columbia Pictures, and played the lead himself. It was called
"Deception."

Later, Nat went to M-G-M on a contract, and "Penthouse"
put him right in the public's eye. His latest, "Sing and Like
It," for RKO-Radio has revealed him as a versatile performer.

He missed the role of Tarzan by two notes. Weissmuller
could yell two notes louder than Nat.

For four years Nat lived in Portugal. During summer
vacations at Columbia University, he traveled in Mexico and
ran down spies for the Mexican government. He wrote articles
about it that were printed in a leading weekly magazine.

He lives alone in a high hillside home that's cluttered up
with tennis balls, banjos and worth-while books.

CAL A Tir\i Tis*' „. The Monthly
YORK^^ WMOUTICI JTil Broadcast of

IS the old Garbo mystery petering out? Has
Greta deliberately created a new one to keep

"her public" guessing? Those are leading
questions in Hollywood today.

At any rate, the unexplained Sittings of the
Silent Swede have become the talk of the con-
tinent.

First, she was seen spinning madly across the
Arizona sands with Director Rouben Mamou-
lian, then with him again at Palm Springs, and
lastly comes the report that shortly after
Mamoulian arrived in New York, Greta de-
barked from the train in the big city, too. "Oi-
lier double," as the newspapers cautiously put
it.

The publicity department of the railroad
system then settled the whole matter with the
announcement:

"Miss Garbo may have arrived, or she may
not have arrived."

And when we went to press, the dauntless
gentlemen of the daily papers were keeping
their vigilant watch — only they didn't know
quite where to watch.

So, as we said, here's another Garbo mys-
tery. Who'll be the first to solve it?

Gallant wife! Mrs.
Leslie Howard gives
her husband a light.
The couple were cele-
brating their return to
Hollywood, at the
Cocoanut Grove

Jackie Cooper takes
keen delight in his col-
lection of airplane
models. Made to ex-
act scale, they are
copies of famous
flyers' ships

Even the most
imaginative
gossip saw noth-
ing but sustained
and smiling in-
terest between
Joel McCrea and
Frances Dee when
the young married
couple recently
attended the ball
given by the
Screen Actors'
Guild in Holly-
wood

. 1 S~ "- /

L »

|p_ 1 a* Nin//7|

<z±s i.Jme- .

A RATHER dignified visitor was
■**■ admitted to Constance Bennett's
home the other evening and just
stepped over the threshold when —
Bang! he found himself colliding
with a panting, disheveled Connie.

In wide-eyed amazement, he gath-
ered himself and looked at her.

"Oh, so sorry," she said, "I didn't
see you. You see, I have to play 'I
spy' with my little son Peter every
night for a little while and I was
hurrying to get in free."

And the visitor simply sat stunned
into silence at this unusual glimpse
into a famous star's life.

HTHK companionship of Doug Fairbanks and
-*• Lady Ashley had already become the talk
of London when Doug told Joseph M. Schenck,
who was Hollywood bound: "Kiss Mary for
mc, and tell her that I love her and that I'm
coming over to see her as soon as my pictures
are finished." Soon came a report from Lon-
don that Fairbanks told "an intimate friend"
he would marry Lady Ashley as soon as Mary
Pickford's divorce went through.

The former Sylvia Hawkes of the stage be-
came Lady Ashley in February, 1927, despite
the opposition of His Lordship's father, the
Earl of Shaftesbury. She and Lord Ashley be-
came estranged less than a year later, in
January, 1928, and he announced publicly that
he would no longer be responsible for her debts.
She has brown hair, blue eyes, and is one of

fear they'd ask her anything about Jack's per-
sonal traits and why he couldn't stay married.
You've got to give her a hand for being loyal
anyway, even though they're divorced.

O.EORGE BURNS breaks down
^** and tells the secret of how he and
Gracie Allen became famous. "At
first," he says, "Gracie was just a
dumb dame. So many other perform-
ers began imitating her that we put
our heads together — and now she's
just plain nuts!"

A LTHOUGH Marlene Dietrich does a lot of
moving, she takes her own bedroom furni-
ture along with her wherever she goes.
ing like your own bed, says Marlene.

TT'S "hush-hush" on Mae West over on the
Paramount lot. It seems Mae had been so
much publicized in the last few months that
the studio fears people may grow tired of hear-
ing about her before she has had a chance to
make more pictures. So, "Please don't write
another word about Mae — please!''

England's most fashionably dressed women.
Once she was a coutourier's mannequin.

"D OUBEN MAMOULIAN will direct Anna
Sten in her next picture, Tolstoi's " Resur-
rection." Critics who hesitated to thoroughly
judge Anna in her first picture, "Nana," will
thus get a chance to compare her with Dietrich
and Garbo under the master who directed both
of these unquestionably glamorous stars.

A LICE FAYE, whose name was mentioned

in the telling-off between one side and the

other in the Rudy Yallee-Fay Webb fracas, was

assigned by Fox to play a lead in the picture,

"Now I'll Tell."

TLTOLLYWOOD is wondering if its greatest
Svengali-Trilby team is due for a split.
Meaning the glamorous Marlene and Joe Stern,
the Yon Sternberg. There have been per-
sistent rumors of continual spats on the set of
" Scarlet Empress," and frequent public occa-
sions when the eccentric director's attitude
toward his star has been far from flattering.
Diners in Paramount's studio cafe have
noticed a strained relationship between the
pair, especially the other day when Marlene,
coming in late, received no attention from Yon
Sternberg, and wafted herself quietly away to
another table, for luncheon alone.

TXA CLAIRE bottled herself up for a couple

of days while the John Gilbert-Yirginia Bruce

fracas was on. She wouldn't see anyone for

And interest did
not lag between
Gary Cooper and
his recent bride,
Sandra Shaw.
However, Gary
and Sandra seem
to be taking things
more seriously
than do Joel and
Frances. The two
couples made a
romantic four-
some at the
Guild Ball

Lucky man ! Wonder
if he is accepting the
famous invitation !
Emanuel Cohen talk-
ing to Mae West, at
his party for Mr. and
Mrs. Gary Cooper

Since her separation
from Jack Gilbert,
when Virginia Bruce
is seen at gay night
spots, her escort is
usually her father,
Earl H. Briggs

»«_""■

("URL BRISSON, one of the latest importa-
^^tions from Europe — and an old friend of
Greta Garbo's back in Stockholm, where he
operated a cabaret — arrived in Hollywood
with only eighteen trunks. He started out
with twenty-one, and the missing three con-
tained all of Brisson's wardrobe except two
suits! (What was in the others, Carl? I

Since Brisson, who happens to be a native of
Denmark, was celebrated on the continent as
one of the best dressed men, the disappearing
trunks have caused him no little anguish. The
proud Dane has been more or less in retirement
while the search goes on.

TMAGINE Otto Kruger's surprise to discover
the reason advanced by Corinne Griffith for
her withdrawal from the cast of the "Crime
Doctor." Corinne says he played all his scenes
with his face to the camera. Anyway, she has
been replaced by Karen Morley.

C ALLY RAND just loathes dress-
k>-' maker's fittings. (Of course, this
spot is wide open for a pertinent com-
ment, so we'll let you make it.) So
she posed for two days while a
sculptor did a replica of her form
divine. Now she doesn't have to see
the dress until it's ready to put on.
. . . That's the big advantage of
wearing fans. You can buy them
ready made.

"DELIEVE it or not but when Rudy Vallee
received word from the East that the in-
junction petition filed by Fay Webb Vallee
against his getting a Mexican divorce had been
denied, he was on the set getting married to
Alice Faye, the "radio singer" named in Mrs.

There's been lots of
talk to the contrary, but
here's proof that June
and Max are still on
more than speaking
terms. Miss Knight and
Mr. Baer were photo-
graphed in this friendly
pose after a swim at
Miami Beach

\J^

Yallee's petition. Of course, the marriage was
for benefit of cameras only, but it hande<!
everyone a chuckle to see Rudy getting notice
of his freedom to act as he was exchanging
dramatic vows with the girl in question.

D ECOXCILIATION month, or old loves
month — this past one in Hollywood.
Ann Harding and ex-husband Harry Ban-
nister surprised the natives by seeming very
affectionate together at a ''little theater" per-
formance; H. B. Warner broke clown and took
out his ex-wife, Rita Stanwood, to dinner; and
Gloria Swanson passed pleasantries with the
Marquis de la Falaise at the Screen Actors'
Guild Ball. When the Marquis gallantly
kissed her brow, 'tis said she turned the shade
of an American beauty and became quite,
quite confused.

A L JOLSON and Ruby Keeler are again
separated by their careers — Al having gone
back to Xew York and his radio work (by the
way, Al declares he is all through with pictures
from now on out!) and Ruby is in Hollywood.
Which means that even- day there will be a
coast-to-coast long distance call between that
pair of love birds. Business will be picking up
fur the phone people.

Oh, mammy! But
even his mother
would not recog-
nize Jolson in those
whiskers ! Having
completed "Won-
der Bar," Al tried
this disguise upon
his arrival in New
York recently to
resume his radio
work

Victor McLaglen
and his wife stop in
the lobby to pose.
The pair had just
attended the pre-
view of Victor's
latest picture, "The
Lost Patrol."
Judging from their
smiles, the movie
went over big

JACK OAKIE tells a good one on
himself. It seems when Jack was
visiting Hawaii he attended a foot-
ball game between native high schools
and sat next to the announcer.

"Okikara has the ball," he'd
scream. "Now Okihaka has it.
Okihua makes a ten yard gain. And
what's your name?" he asked, turn-
ing to Jack.

"Oakie," Jack said. "Hah, one of
us," he beamed and wrung Jack by
the hand.

"DUGHTFD nuptial bliss: Laura La Plante

.md William Seiter have separated. Rumor
has it thai La Plante will be divorced abroad,
. so that she is interested in Irving Ascher.

Helen Vinson divorced Harry Nelson Vicker-
man, Philadelphia carpet man.

Irene Bentley and George Kent were di
vorced, and Kay Francis instituted proceedings
. inst Kenneth MacKenna.

Others involved in talk of discord are: Gloria
Swanson and Michael Farmer; Mr. and Mrs.
Charley Chase; Nancy Carroll and Bolton
Mallory.

Three guesses as to just what Lupe Velez an
Johnny Weissmuller were doing, are doin;.

Madeleine Carroll,
English star, was
permitted to come
over here if Fox
would send Warner
Baxter to London.
Just one picture —
then they both go
back home! Miss
Carroll is scheduled
to make "The World
Moves On"

Two stars of the
silents have a
"talkie". Norma
Talmadge and Ru-
by e de Remer (now
Mrs. Benjamin
Throopi, screen fa-
vorites of the past,
enjoy a chat. Both
were vacationing at
Palm Beach

Gossip even had it that the whole performance
was for publicity. But who knows Lupe?

f"< KORGE BRENT, it seems, refused to work
^^in certain pictures First National lined up
for him. To penalize him, the studio has kept
him off the screen. Brent didn't grieve too
much. His contract had little time to run, and
he thought he could do what he wanted to
when First National dropped him. But Mr.
Brent was fooled. The contract was renewed,
the studio can continue to keep him inactive,
and he's wondering just what pleasure it gives
them to pay him money for taking a spanking.

JOSEF VON STERNBERG was
strutting about the Paramount lot.
with his cane as usual when he hap-
pened to glance behind him and
spotted George Raft walking along
behind him and also using a cane.

The look on Joe's face told Raft he
felt he was being aped.

"Take it easy," George cautioned
him. "I'm not trying to imitate you.
I have a broken bone in my foot and
have to carry this cane."

And Joey's face cleared as he
strutted off.

TN the stork's date-book: Frances Dee and Joel
McCrea; Marguerite Churchill and George
O'Brien; Mrs. and Mr. Ernest Truex; Sally
Eilers and Harry Joe Brown (rumor). Gossip
had the Bing Crosbys listed for May, but Bing
says the rumors ought to be held up at least
until little Gary Crosby is old enough to say
"mama." However, Bing's wife, Dixie, is re-
ported to be going into retirement.

[ l'J.EASE TURN TO PAGE 128 ]

Sylvia Tells Mae Clarke

TJEMEMBER, MAE, be sure to
avoid any strenuous exercise.
You can swim a little, play tennis
a little. Walking is fine for you,
and for everybody, for that matter.
It is nature's most normal, least
exhausting exercise.

SYLVIA

EAR MAE: Well, bless your little heart! Em proud
of you. I think it's grand that, in spite of the fact
you've had more tough luck than almost any other
girl in Holly-

wood, you're still able
to show them what a
good trouper you are.
My congratulations!

Do you remember
that luncheon Univer-
sal gave to Mrs. Knute
Rockne while they were
making "The Spirit of
Notre Dame"? Leo
Carrillo, Russell
Gleason, Sidney Fox,
you and I all sat at the
same table. Did you
notice that I was
watching you closely?
It was before you had
had that severe nervous
breakdown, before the
auto accident that
laid you up for so long.

Everybody was hailing you as an up-
and-coming new star, but even then I
saw a haunted look in your
eyes. I wondered if you were
really happy. You know, I'm
used to looking for other
people's troubles — troubles of
the flesh (and I mean flesh),
as well as of the spirit.

That was about three years
ago and, in spite of all you've
been through, you look much
happier now than you did
then. Maybe then you had
some vague idea of what Old
Lady Fate had in store for
you. You were handed
plenty of bad luck.

I know what you went
through, when you got out of
the hospital ready to work
again and found that there
wasn't any work. Despite
the fact that you had been
"a promising young actress"
a year before, during your
breakdown you seemed to be
forgotten. That's hard to
take. That's a lot worse than

Mae Clarke has a lovely figure —

even Sylvia can't find a flaw. But

Mae needs more stamina

any physical ailment. But finally you did get a
break — a job in a picture — and then the day before
you started work — socko! — you took it on the chin
again. And I mean literally. You were in
that messy automobile accident with the lower
part of your face all cut and wires inserted to
hold your chin in place. Sally Eilers played
the part you were supposed to have.

But what's happened now? Well, you've
shown them. They can't get you down.
You're a sticker. And that's the best com-
pliment I can pay you, for I don't like a
quitter. Mae Clarke, I'm proud of you!

Not so long ago I previewed " Lady Killer."
It was your picture. But when I saw the way
Jimmy Cagney threw you around, tossed you
out of his apartment and pushed you in the
face, I got to thinking, "Why, that girl hasn't
been out of the hospital so very long. She
shouldn't take punish-
ment like that." So I
thought I'd just sit down
and write you a letter to
tell you what you can do
to store up energy, to keep
you from breaking again,
to make it possible for you
to fulfill your destiny by
becoming a big star.

Also, I know a lot of
girls who have to earn a
living, who have been sick

How To Gain Energy

Her advice to Mae applies
to every girl who is go-
ins; along on nerve alone

But I'm going to tell you how to correct that. I'm also going
to give you a diet that is calculated to create energy, to keep
you fit, to make it possible for you to go on. I want you to do
me a big favor. Try the diet for a week and see how you feel.

And now, I'm going to tell you a secret. I'm going to give
you an exercise — well, it isn't really an exercise, as you'll see
in a minute — which I call my "energy maker." And, darling,
it's so simple that you can't afford not to do it. This is for
you, Mae, and it's for every other girl who works hard all day
in an office, in a store, or even as a housewife at home.

Give yourself one hour before dinner to make energy. An
hour is what you really need, but if you can't give that much
time, then give as much as possible. Ten minutes will help a
lot. But an hour is perfect. This is good for all nervous
people, too, for when you're so tired that you just can't rest,
no matter how perfect your diet is, you can't properly digest
your food. [ please turn to page 94 ]

No, indeed, Sylvia doesn't recommend this for gaining

energy ! In fact, Jimmy Cagney's man-handling of Mae

in "Lady Killer" worried Sylvia so much, she advises

that Mae use her energy diet

and have gone back to work before they were able, so
this letter is not only for you, Mae darling, but for
other brave girls who have had tough breaks, too.

You've been able to go on so far, because your
ambition and your great will power have pepped you
up and let you run along on your nerve. I know
what that means. I used to take sixteen patients a
day, and I ran on my nerve, too. But there comes
a time when that nerve yells, " Stop! " That's when
you've got to call on your excess energy. And if you
haven't that excess energy, you're going to land
right back in the hos-
pital.

In "Lady Killer"
your figure was perfect,
and the surgeon who
worked on you after
the automobile ac-
cident did a very neat
job. I couldn't find a
single scar.

Here is something,
though, that I want to
advise you about. Your
neck is a little too thin,
and shows a few lines.

After this kind of
treatment, almost
any girl would need
Sylvia's formula for
building up the neck
and erasing lines

Sylvia demonstrates
a simple exercise
which will relax a
nervous person. She
advises an hour
work-out before
dinner

opnngl 1 is r orgivm

IT'Sspring! It'sspring! It'sspring! (What, triplets again?)
The little birdies are winging their way home, home
again for papa to keep through the summer. The little
butterflies are flying through the W. C. Fields of clover.
Home from a long, hard season with Chevalier on the Riviera.
And nothing to show for it but a few funny spots on their wings.
And there are the busy little bees. ''Bees it ever so humble,
there's no — " (all right, all right.) Yes, spring, comes trip-
ping over green-clad hills, kicking the same old gong around.

The little rills are rilling. The little beans are spilling. The
little lambs are lambing. And the little Jolsons are mammy-
ing. It's spring, when a young man's fancy gets fancier and
fancier, or haven't you seen Georgie Raft's new sports coat?
Even the little violets are peeping (hello, Walter Winchell
from their little beds. And little Groucho Violet, little Harpv
Violet, little Chico Violet and even little Zeppo Violet are
peeping from their little beds. I hope.

Why, even Mae West stands admiring her glittering di-
amonds and appropriately hum-
ming, "When It's Springtime in
the Rockies."

And so, children, Hollywood

ime in

Holl

ywoo

feels the surge and the urge of the jolly old springtime coursing
through her slightly hardened arteries, and a feeling of peace,
contentment and even forgiveness fills its battered old pre-
war heart to overflowing. It wants to forgive. It cries out to
forgive. And listen, no monkey business, see, and if it's
wrestling you want, okay. Hollywood is still going to forgive.

There's the problem of Oakie's clarinet. And who took it.

You'll never know the passion that rendered Mr. Jack
Oakie practically speechless, for the first time in his life,
when he woke up and found it gone

No written message left behind.
No nothing. Oakie's clarinet, the
one on which he could, and did, play
those two lovely bars of '"Father,
Dear Father, Come Home With Me
Now" for days and even weeks at a
time. ''Why, why," Jack cried,
''would anyone want to take an in-
nocent little clarinet when there are
so many bagpipes in the world? Tell
me that." But no one would tell
him.

He accused everyone on the Far-
amount lot from Adolph Zukor to
Baby LeRoy. He searched each and
every passer-by. He sulked and
avoided his old friends. And were
they relieved! And once, to Diet rich's
astonishment, he rushed madly out

of his dressing-room and, seizing her coat tail, gave it a yank
that nearly tore it off her back. "Oh, excuse me," he mumbled
"I saw that thing sticking out of your hip pocket and I
thought it was my clarinet."

But it was Yon Sternberg's collapsible walking-stick.

Well, it looked as if Jack would never recover. And then
came springtime, scattering blossoms while she may, bringing
her warmth and sunshine, and Jack's sore heart was healed.
He wants the world to know that, even though he never found
his clarinet, he forgives. He earnestly forgives the culprit who
stole his clarinet and, with all his heart, hopes the guilty one

His clarinet, I mean.

April gardens bring
Hollywood pardons!
Spring! When worms
turn and young men's
fancies get fancier

By Sara Ha mi I ton

1LLISI I! V I I I) It \

will get it wrapped around his neck and merrily choke him -
self to death.

Even Hollywood, as a whole, forgives. Which just goes to
show you how Hollywood sticks together when it goes in for
some high class, A-l forgiving. For instance, it even forgives
the one who sat that dwarf on J. P. Morgan's lap. For once,
the limelight was completely stolen from good old Hollywood.
And think of the people Hollywood could have sat on J. I'.'s
lap and the fame that would have resulted. That was a blow.
Hollywood forgives that new white car of Stepin Fctchit's
with his name in huge lights on the
sides. Stepin Fetchit, in red coils.
It even forgives him for having thai
name flash on and off, on and off, as
Stepin drives along. Yes, hard as
it is to believe, Hollywood forgives
that.

It even forgives Clark Gable that
horse race. And that's something.
When Clark's much touted nag.
Beverly Hills, came in fifth at Agua
Caliente, with practically all of
Hollywood's hard-earned money on
it at two to one to win, well — . But
Hollywood still forgives and forgets.
Well, forgives, anyway.

Gracie Allen, in her little blue hat,
wants everyone to know that she,
too, forgives in this glorious spring-
time. Gracie (Little Lamb, who made thee? Dost thou know
who made thee?) forgives an actor.

"You see," says Gracie, " I was driving along in my little red
roadster. And it's the funniest thing about that roadster.
You see, I found it parked in front of my house one morning
and I just know the Easter Bunny must have put it there.
Well, anyway, I was driving along in this little red roadster
out by Warner Brothers' studio and straight ahead of me I
saw the Holland Tunnel and I thought, how silly, someone
has brought the Holland Tunnel all the way out here from
New York, so I'll just drive through it. Suddenly, I found

myself dashing right through a
billboard, into the studio, and
landing right on Jimmy Cagney's

lap. [ PLEASE TURN TO PAGE 110 J

l< A \ k 1) OBI V S

Gracie Allen loves a cheer-
ful forgiver, so she pardons
Joe E. Brown — even if she
did think Joe's mouth was
the Holland Tunnel!

.,,

Mexico Comes to Hollywood

PLENTY of heartaches and headaches and
good American dollars went into the film-
ing of "Viva Villa," down in Mexico. So,
when the bulk of the picture was finished and
all the long shots carefully made, the weary
outfit trekked back to the U. S. A. to finish the
close-ups. They brought with them a Mexican

railroad car. And they moved it right onto the
M-G-M studio's sound stage, first building
special tracks to run it on. For, it seems,
there was one scene yet to be shot from the
platform of a railroad train. That scene, like
every sequence in the picture, must be truly
Mexican and authentic.

The scene shows Wallace Beery as Pancho
Villa, bidding a sad and bewildered farewell
to his friends. They are going on to the Mexi-
can capital. He is left behind, too uncouth
and rough to be given a place in the govern-
ment for which he has fought.

Pancho (on the steps) is saying goodbye to

Fhus "Viva Villa" Is Ended

Photo by Charles Rhode

his pal, Johnny Syhes (Stuart Erwin), Ameri-
can newspaper man. Standing below Pancho
is General Sierra (Leo Carrillo), the genial
assassin. On the platform is the proud and
lovely Mexican girl (Fay Wray) whom Pancho
loves. By her side stands President Madero
(Henry B. Walthall), the tragic figure for

whom Pancho Villa fought. Xext to him is the
handsome and wealthy hacendero (Donald
Cook), and beside him stands the traitor, Pas-
cal (Joseph Schildkraut).

Follow the microphone boom down to its
base and you see Director Jack Conway,
tensely supervising the shooting of the se-

quence. James Wong Howe is the cameraman;
John Waters, wearing dark glasses, assistant
director.

It's a final scene in a picture that has been
long and difficult in the making. Carefully
executed, it is an ambitious undertaking, a
spectacular production.

Select lour Pictures and You Won't

DEATH TAKES A HOLIDAY— Paramount

STRANGELY beautiful and haunting, this picture is an
experience no intelligent person should miss.

The dialogue is a gem. The story concerns Death, who
yearns to mingle briefly with men, as a man, and not be
shunned — to feel human emotions and to find out -why men
fear him. As Prince Sirki, he appears at a house party
where he finds romance, passion, desire — and true love
with Evelyn Yenable.

The performance of Fredric March in this difficult part
is something to wave banners about. The cast — Kent
Taylor, Sir Guy Standing, Katherine Alexander, Gail
Patrick and others, is the best.

The direction is masterly, creating a mood that carries
throughout the picture. Don't miss this film!

MEN IN WHITE— M-G-M

BY no means are you to consider this just another of
those medical things. It is a hospital picture to end all
hospital pictures!

Interne Clark Gable's problem is whether he shall marry
wealthy Myrna Loy and have an easy practice, or make the
most of his opportunity to work with a famous scientist
(Jean Hersholt) and have little leisure.

It is a film long to be remembered — fine and honest.
In the scene with the little sick girl, Gable does a remark-
able acting job. And he has your sympathy all through
the episode with the nurse who dies as the result of an opera-
tion that should not have been performed.

Hersholt tops all previous performances. And what a
trouper Elizabeth Allan is! Otto Kruger, C. Henry Gordon.

The

Shadow

A Review of the New Pictures

IT HAPPENED ONE NIGHT— Columbia

HERE is romance, garnished with lots of laughs.
The love story concerns Ellie (Claudette Colbert), an
heiress, and Peter (Clark Gable), a newspaper reporter out
of a job. They meet on a night bus. Ellic traveling in-
cognito, is running away from her father (Walter Connolly)
to join a worthless young man she has recently married.

For financial reasons, the journey of Ellie and Peter,
from Miami to New York, finally resolves itself into hitch-
hiking. They stay in tourist cabins at night, and Peter
properly hangs a blanket (which he names, "the Walls of
Jericho") between them. While Ellie sleeps, Peter leaves
her to rush ahead to New York and sell the story of her
adventures to his ex-editor for SI, 000. He returns to help
Ellie with this money, but she, believing he has deserted
her, brings about a complication in which her husband
figures.

However, in the end, the conniving father rescues the
romance, and the picture winds up hilariously with "the
Walls of Jericho" being blown down.

Clark Gable's at his best, yet in winning new honors for
himself, he steals nothing from Claudette.

The picture has a rare quality of camaraderie with the
audience — permitting those watching it to share the ex-
periences and fun of the players Skilfully directed.

Have to Complain About the Bad One

The Best Pictures of the Month

IT HAPPENED ONE NIGHT

DEATH TAKES A HOLIDAY

WONDER BAR

SPITFIRE

BOLERO

VIVA VILLA

MEN IN WHITE

SIX OF A KIND

CAROLINA

THE LOST PATROL

The Best Performances of the Month

Clark Gable in "It Happened One Night"

Claudette Colbert in "It Happened One Night"

Wallace Beery in "Viva Villa"

Fredric March in "Death Takes a Holiday"

Clark Gable in "Men in White"

Dolores Del Rio in "Wonder Bar"

Ricardo Cortez in "Wonder Bar"

Katharine Hepburn in "Spitfire"

Victor McLaglen in "The Lost Patrol"

Spencer Tracy in "Looking for Trouble"

Jack Oakie in "Looking for Trouble"

Fredric March in "Good Dame"

Sylvia Sidney in "Good Dame"

Douglas Fairbanks, Jr. in "Catherine the Great"

Casts of all photoplay* reviewed will be found on page 121

VIVA VILLA— M-G-M

OUT of travail has emerged a picture that will make
history— "The Birth of a Nation," "All Quiet on the
Western Front" — and now, " Viva Villa."

Wallace Beery is Villa — Villa is Wallace Beery. A great,
simple, inarticulate child who could neither read nor write,
but left his name in blazing letters in the history of Mexico.
He is gross, barbaric and splendid — cruel and unsuspecting
as a baby. As a peon boy, he sees his father whipped to
death by the aristocrats, when he dared to call himself a man.

Villa grows up to prove himself a man. He vanquishes the
tyrants with the craziest army of ragged recruits ever known.
He marries every girl he fancies. He knows no law, except
a simple primitive instinct that all men are equal, and
aristocrats must be killed.

Killing is his sport — but his homicidal tendencies have
been tempered. He joins forces with the great gentle
Made.ro, played beautifully by Henry B. Walthall, makes
Madcro president — only to have himself exiled through
enemy influence. Madero is murdered. Villa's news corres-
pondent and pal finds him in an El Paso flop house. Start-
ing with seven dollars and five men, Villa raises another
army and takes Mexico City. He becomes dictator — un-
couth, bewildered. And soon meets an ignominious death.

Beery is more than superb. Entire cast fine.

WONDER BAR— First National

A GAY, sophisticated musical with a "Grand Hotel"
theme, pretty girls, dancing and extravagant settings.

Al Jolson, proprietor of the Wonder Bar cafe in Paris,
loves Dolores Del Rio, a dancer, who in turn loves her
partner, Ricardo Cortez, a gigolo. Learning Cortez is
about to elope with Kay Francis, wife of a wealthy banker,
Dolores stabs him during their dance number. Jolson comes
to her aid, only to discover Dick Powell, orchestra leader,
has won her heart. But it's the dance extravaganzas, the
Jolson touches, the carefully woven threads of all the
patrons' actions, the spontaneity, that you'll love.

Ruth Donnelly, Hal LeRoy, Guy Kibbee, Hugh Herbert
and many others enjoy the delightful entertainment of the
Wonder Bar cafe.

SIX OF A KIND— Paramount

THIS is the howl you've been waiting for. Charlie
Ruggles, Mary Boland, W. C. Fields, George Burns,
Gracie Allen and Alison Skipworth are six of a kind — all
ace comedians. And if it's action you crave, stop right here.

Bill Fields almost stops the show with his pool-table
pantomime, but the others are not far behind.

Mr. and Mrs. J. Pinkham Whinney (Charlie and Mary),
not having had a vacation in twenty years, drive to California
on a sort of second honeymoon and, of all things, take
George Burns and Gracie Allen along to share expenses.
Unknown to them, S50,000 is smuggled into their baggage.
And, upon arriving at Alison Skipworth's hotel, Ruggles
is accused of the theft by Wild West Sheriff Fields.

It's cleverlv directed and hilariouslv funnv.

The National Guide to Motion Pictures

(re;, u. s. pat. off.)

SPITFIRE—
RKO-Radio

CAROLINA-
Fox

HEPBURN devotees attention! Here's a film with plenty
of Hepburn as a little mountaineer harum-scarum, whose
simplicity and beauty of soul cause her to become an outcast
among her own people. It will tug at the heart strings and give
you a lot of new ideas about Katharine as an actress. Ralph
Bellamy, Robert Young and Sarah Haden, a grand little comic,
add immeasurably.

NORTHERN waif Janet Gaynor wins the
Young, scion of the House of Connelly
aristocratic mother's wanting him to marry
Barrie. Janet's admirers will love her in this
South, although acting honors go to Lionel
Henrietta Crosman, as Robert's mother. Step
ard Cromwell. Exquisite sets and scenery.

BOLERO—
Paramount

heart of Robert
in spite of his
wealthy Mona
story of the old
Barrymore and
in Fetchit, Rich-

THE LOST
PATROL—
RKO-Radio

RAVEL'S haunting "Bolero" and the magnetic team of
George Raft and Carole Lombard make this one for your
must list. The team becomes the dancing toast of the Continent.
Then George goes to war, losing Carole to a British lord. Re-
turning, shattered, they dance one more triumphant Bolero,
before George leaves life for "a better joint." Reminiscent of
"The Four Horsemen." Sallv Rand's fan dance is lovelv.

A GROUP of thirteen British Tommies, in the Mesopo-
tamian Campaign of 1917, is lost in the desert. Arab
snipers, artfully concealed, take off one after another. Ser-
geant Victor McLaglen is the only one left when a relief patrol
arrives. There's not much story, but the dramatic performance
of the entire male cast is the finest seen in many a day. Boris
Karloff, Wallace Ford, Reginald Denny.

LOOKING
FOR

TROUBLE—
20th Century-
United Artists

THIS SIDE
OF HEAVEN
—M-G-M

YOU'LL go for the team of Spencer Tracy and Jack Oakie
in a big way. As telephone repair men, they face fires, an
earthquake, blizzards. And, in addition to all these difficulties,
Spencer has a rival in Morgan Conway for the love of Constance
Cummings. Oakie and Arline Judge furnish many hilarious
moments. Besides its being a cracking good story, the dialogue
is right there.

A REALISTIC tale that will touch a responsive chord in
every heart. .The experiences of a family during one
hectic day, ending by the father, Lionel Barrymore, taking an
overdose of medicine to save wife Fay Bainter and children
Tom Brown, Mae Clarke, Mary Carlisle from disgrace because
he is charged with embezzlement. But he's saved in time.
Una Merkel, Onslow Stevens and Eddie Nugent.

Saves Yo ur Picture Time and Money

AS THE
EARTH
TURNS—
Warners

GOOD DAME
— Paramount

IN a manner belying their experience, a corps of young actors,
headed by Jean Muir, carry off honors in this screen transla-
tion of Gladys Hasty Carroll's book. The story of three fam-
ilies of rural Maine — their loves, envies, hates. An exquisite
combination of fine artistry and human emotions. Cast in-
cludes Donald Woods, David Landau, Dorothy Peterson, Dor-
othy Appleby and William Janney.

THE CAT
AND THE
FIDDLE—
M-G-M

WHEN good little chorine Sylvia Sidney joins the carnival,
Fredric March lets his roving eye rest on her long and
lovingly. And finally the hard "berled" slicker becomes a
perfect husband. This film is just what the doctor ordered for
Sylvia and Fred. Plenty of laughs with a few tears thrown in.
Excellent photography, dialogue that hits the bell, and a fine
cast including Jack LaRue and Noel Francis.

coming out
party-
Fox

NOT a new plot, but the glorious voice of Jeanette Mac-
Donald and the charm of Ramon Novarro make up for
that. He is a composer of classical music, while Jeanette makes
a fortune in Paris on popular tunes. A lover's tiff results in
Jeanette considering marriage with rich Frank Morgan, but
love conquers in the end. j The songs are lovely, and Charles
Buttenvorth is at his best.

FRANCES DEE'S party is an elegant affair and her per-
formance as the society girl in love with a poor violinist
(Gene Raymond) is very touching. When Gene's big chance
for a European concert tour comes, Frances doesn't tell him of
impending blessed event, but goes through with her debut.
However, all ends happily. Nigel Bruce, Harry Green and
fine supporting cast suffer because of old plot.

CATHERINE
THE

GREAT—
London Film-
United Artists

HI,

NELLIE!—

Warners

AN impressive and elaborately staged production in which
Douglas Fairbanks, Jr. gives a striking portrayal of the
erratic Grand Duke Peter. Elizabeth Bergner, as Catherine the
Great of Russia, handles her role expertly. Most of the action
takes place toward the end of Empress Elizabeth's reign, when
Peter is mad with anxiety for her death, so he may exercise
his power. Entire cast excellent.

TRIP-HAMMER action, good suspense, humor and ace-
high performances by every cast member put this news-
paper drama in the movie headlines. Managing editor Paul
Muni is relegated to the Heart Throb Department, having the
byline " Nellie Nelson." But a clever reportorial job wins back
his desk. Muni superb; Glenda Farrell and Ned Sparks tops.

[ ADDITIONAL REVIEWS ON PAGE 90 ]

His 1 hird lime On lop

Wesley Ruggles, who slipped twice, says
ace-high director has toughest film job

By Beauregard Brown

real screen epics with "Cimarron." He wrote and directed
"Are These Our Children?" and found that one of its youth-
ful players, Arline Judge, could add to his happiness as his
second wife (she is less than half his age). Now he has one of
the best directorial contracts, with Paramount. His latest
picture is"" Bolero," with Carole Lombard, George Raft, and

Sally Rand, the fan dancer.
"So many things can
happen to bring a di-
rector to grief," Rug-
gles explains.
"The pitfalls that
endanger an
actor's career
are not nearly

THE most uneasy heads in
Hollywood are those of ace
directors, Wesley Ruggles is
convinced.
"This is my third time on top, so
I should know what I'm talking
about." says the man who directed
the gigantic "Cimarron," awarded .
the Photoplay Magazine Gold
Medal as the best picture of 1931.
"Twice before it was the same
precarious, sometimes despairing
struggle to climb. Then, when I
lost my hold, I shot to the bottom
so fast I never have been able to
figure out exactly how I might have
saved myself."

Those two slips that Ruggles
never will forget are forgotten by
almost everyone else. Since 1927
he has been doing a regular "Ship-
wreck" Kelly — sitting high and
pretty on the thickly greased pole
that rears to movie glory.

His third time on top seems to be
something of a charm for him. The
coming of the talkies could not
shake his new grip, although his

only experience with speech in the theater had been staging
amateur minstrel shows while he was an oil company employee
in his native Los Angeles. He has added to the short list of

The man who came back twice attained a happy

home life, too. Ruggles and Arline Judge, his

young wife, with little Charles Wesley

politics, sometimes entirely again

"There are plenty of men who

tors, stumbling around Hollywood

The "Cimarron" man
has held high rank for
a long stretch now. Is
it a third time charm?

so numerous. Usually
it takes several bad
pictures in a row to
severely damage a
star's reputation.
Directors have been
plunged into obscur-
ity on the strength of
a single flop.

" No one else in
pictures bears so
much responsibility,
no one is concerned
with so many details.
When money is lost
on a production, the
accusing finger first
points at the director.
"Then, too the di-
rector is so apt to be
drawn into studio

st his will.

used to be big shots as direc-

PLEASE TURN TO PAGE 108 ]

Q&mmmaj. Aytul
MQUH&lcba -pidZuu
iiatr— A/dm ftoyu,
Vubmmul witfv ciu

ttunz at nuk ncft

WutaMic -kid

It&mwi Jul
(btetcL Njaam

4A0U.

ont a taw—
4ow

eaxxud iy Am

Old -Time
Styles Give
nspiration
For Modern

THIS charming costume worn by Loretta Young in
"The House of Rothschild" has proved an in-
spiration for a modern adaptation for you. The
copy is made in an old-fashioned sprigged challis
without the jacket, but otherwise like the one
above, cleverly designed by Gwen Wakeling

HOLLYWOOD FASHIONS

here sponsored by PHOTOPLAY Magazine and worn by
famous stars in latest motion pictures, now may be secured for
your own wardrobe from leading department and ready-to-wear
stores in many localities. . . . Faithful copies of these smartly
styled and moderately-priced garments, of which those shown
in this issue of PHOTOPLAY are typical, are on display this
month in the stores of representative merchants

^e/frrtsouS^

CAN'T you see what a smart daytime print this
youthful costume has inspired? Loretta Young
wears it like this in the picture, but you will wear
it in a shorter length with the same organdy collar
but with printed silk sleeves and only the cuffs of
organdy. Gwen Wakeling also designed this one

Now We Copy The
Stars' New Hats

WHEN you see
Irene Hervey in
"Three on a Honey-
moon/' you will like
this clever Royer cos-
tume. It is three-piece
with shirting si Ik blouse,
pique vest and silk skirt.
We have added a jack-
et to your copy of this

AND here's the first
hat! One worn by
Thelma Todd in "Bot-
toms Up." It's a turban
with huge bow ar-
ranged to give a very
flattering eye line at right

DUSSELL PATTERSON'S

l^new version of the popular
blouse and skirt combination for
Pat Paterson to wear in "Bottoms
Up." The skirt is light blue flan-
nel, slim and straight with a wide
self belt. The blouse is white
organdy with accordian pleated
ruffling in unusual effect, giving
a frilly feminine air to the whole

TT^

Suits Play A Big
Role This Spring

&&&jb

L^^jA i jfe^.

1 1

':-'gm »

SILK suits promise to
be very popular as
the days become mild-
er. Russell Patterson
has designed this stun-
ning suit above for Pat
Paterson to wear in
"Bottoms Up." The
seven-eighths length
coat has a wide revered
collar and deep cuffs of
white satin. The skirt
is straight with high
waistline and self belt
below it. Sheer blouse

AND here is a jaunty
straw hat for your
spring suit. Designed
by Royer for Irene Her-
vey to wear in "Three
on a Honeymoon, it
has a Tyrolean air with
its peaked crown and
red quill jutting out

TRAVIS BANTON
I designed the cos-
tumes Carole Lombard
wears in "Bolero for
the period around
1913, but strangely the
styles have so many cur-
rent fashion points that
they are adaptable for
today. This wool cape
suit with plaid vest and
lining is one which has
been copied exactly
for you to wear now

The Tricorne

gam

ROYER has desisned a
real George Washing-
ton tricorne for Rochelle
Hudson, even to the cher-
ries dangling from a ribbon
rosette! The straw is a
linen-like type in navy
blue and the three points
are so arranged as to
subtly flatter the face. The
circle shows the straw
straps that hold the hat in
place at the back, tying
in a simple bow effect

ANOTHER interesting silk
suit is this navy blue one
worn by Elissa Landi in "Sisters
Under the Skin." Kaf loch has
designed it with a finger-tip
length jacket and double-breast-
ed closing. A white cross-bar
organdy blouse has a frilly col-
lar which Elissa wears over the
plain neckline of the jacket.
Her accessories are blue, too

cmen fashion?

be uoedirln

OVER her, they
fought and
argued and begged
and pleaded! And
then when one of
them won, others be-
gan to borrow! We
are talking about
Gloria Stuart and the
studios. Following
her success on the
Ca I i forn ia sta g e,
Gloria was offered
contracts and bright
promises from all sides!
She chose Universal,
however. After being
loaned to Sam Gold-
wyn for "Roman Scan-
dals," Miss Stuart
is back at work once
more on the home lot

Freulich

9 ^ v.

r »\

*ar<

i*.

Irving Lippman

JACK HOLT has been in the movies a long time, but when anybody
uses the word "shooting" around Jack, he still thinks of guns, not
cameras! Away from the studio, the Columbia star and his son, Tim,
get their rifles and dogs and hit the trail for some good hunting. Tim
is fourteen years old and not, as yet, interested in movie work

Polly With A Future

Miss Walters is going
back to Hollywood, and
this time someone will
meet her at the train!

By Wi Ilia in
P. Gaines

Polly in 1931, when she

arrived in Hollywood

unknown and couldn't

even find her studio

SOMEBODY will meet Tolly Walters at the train
the next time she goes to Hollywood. There
may even be a brass band or two. Anyway, there
should be. Because here's a little girl who has
become a Somebody, despite every kind of disappoint-
ment Hollywood could hand her en her first invasion.
She's the blonde who was lost for three days in
Hollywood, early in 1931. She was signed in New
York for Warner Brothers pictures. No one met her
at the station in Los Angeles. Finally, she located the
Warners' studio. It was closed. The brothers had
moved all production to their First National lot.

"Next casting is Monday morning," a man at First
National told her. "But I have a contract," she
wailed. Nobody listened.

Sp>

Polly, a fugitive in a Princeton men's dormitory, gets

a boyish haircut to fool police and faculty. The

student doing the barbering is John Beal

It took all of three
days and a couple of
wires to New York to
get Hollywood in on
the secret that the strayling
with the drawling voice,
then known as Teddy Wal-
ters, was under a small-
money contract to appear
in the movies.

By her own confession,

she was scared nearly stiff.

She was a county fair enter-

tainer,with brief New York

musical show experience, in a city as strange and wondrous

in its way as the fairy-tale city of Oz.

For a year she was given bits and a few fair size parts.
Some of these she did rather well, too. In a certain type
of role she could make people laugh — particularly as a
slangy telephone girl. She posed for innumerable studio
publicity photographs, showing her legs. "Gams," these are
called. And Teddy, whom the Warners renamed Polly, was a
good gam girl.

But after that year, the Warners handed her over to RKO-
Radio. Finally, she bounced to the Faramount lot, worked in
a picture with the significantly appealing title, "Make Me a
Star," then drifted back to New York — unwept, unhonored
and unsung by Hollywood.

Last fall Tolly got a chance to try out for a part in Sam H.
Harris' lampooning musical show, "Let 'Em Eat Cake." She
reported at the theater and there, of all people who could make
Tolly ga-ga, was Marilyn Miller, rehearsing in Harris' other
musical satire, "As Thousands Cheer."

"Ever since I was a child," Tolly explained, "Marilyn Miller
has been a sort of a goddess to me." [ please turn to page 116]

Princess Mdivani (Mary McCormici made the

Britishers indignant by exchanging wisecracks with

a stooge instead of singing operatic gems

London, England.
OUGLAS FAIRBANKS has indefinitely postponed
the filming of "Exit Don Juan," which was to have
been his first starring vehicle for London Film Produc-
tions, and which was scheduled to start early in Janu-
At the moment, he is

wildly enthused over the possi-
bilities of no fewer than three
stage plays which he has read
in script form.

Although he assures me that
he means to produce all three
of them in West End theaters
in the near future, I am inclined
to think that this is merely
Fairbanksian ebullition. His
idea is to starDoug, Jr., in each
of the three plays. As a matter
of fact, C. B. Cochran has been
on the hunt for a suitable stage
vehicle for the younger Fair-
banks for almost six months —
and thus far has found nothing
that will do.

The only thing that seems to
be reasonably certain about
the film future of the Fair-
banks couple is that they will
both appear in "Z," the title
chosen for a talkie version of
"The Mark of Zorro," one of

"Anybody but the
actor is more im-
portant in a film,"
says Brian Aherne
about emoting be-
fore the camera

Star News

the most popular of Doug's silent films. Work on this one is
now planned to be begun in June — the exteriors to be shot in
Spain.

AS for Fairbanks, Jr., — the lad is momentarily under a cloud
of unjust criticism, because he returned to London from
Hollywood by way of Paris! I'm afraid we English are incurably
parochial in matters of this kind. Yet I'm not so sure that
Americans, in the same circumstances, wouldn't react in the
same way.

You see, the tremendous success of "The Private Life of
Henry VIII" has given British films a very big boost within the
confines of the United Kingdom. Alexander Korda, who directed
the Laughton epic and who, with Fairbanks, Sr., is the boss of
London Film Productions, has been hailed as the one genius
capable of making Elstree a real rival of Hollywood.

There was not a little resentment on the part of British picture-
goers when they discovered that Paris and New York had had
a look at "The Private Life of Henry VIII" several weeks be-
fore the London premiere. When the newspapers announced
that Doug, Jr. had flown across the American continent and
sped across the ocean in order to be present at the first night
of "Catherine the Great" — in Paris — the movie devotees of
this country waxed wrathful.

"Catherine the Great," according to advance whisperings (it
hasn't yet been shown in London), is a wow. Both young
Fairbanks and Elizabeth Bergner (hailed by London critics as
the greatest living actress) are said to give the performance of
their lives in the film. Why, then, the British film followers rise
indignantly to ask, should it not first be shown in London?

The answer is simple — and pathetic.

Until Paris or New York sets the stamp of its approval on a
British-made film, the manager of a London West End cinema
cannot be persuaded to believe it merits the kind of exploitation
that he gives willingly to the more important Hollywood pro-
ductions! In fact, so suspicious are these British exhibitors
when it comes to an especially expensive British film, it is next
to impossible to get them to consider booking the picture at all
— unless it has already won big success outside the country.

The moment the Paris premiere was over, Doug, Jr., chartered
a plane and flew to London — but that didn't offset the fact that
he had elected to make Paris his first port of call on this side!

SPEAKING of Doug, Jr., brings Gertrude Lawrence in-
evitably to mind. The gossips' chorus grows louder with
every passing day regarding marriage between young Doug and

Gertrude, when his
divorce from Joan Craw-
ford becomes final in
May.

However much truth
there may be in this
gossip, the fact remains
that at the Savoy the
other night, Miss
Lawrence seemed to be
enjoying herself im-
mensely— in the com-
pany of an anonymous
and (rumor has it) im-
mensely wealthy Argen-
tinian.

They danced every
dance together, and
stayed to the very end.
I've never seen Gertrude
more animated, and
seemingly more pleased
with life in general and
her escort in particular.
But for the most part,
young Fairbanks con-

Thomas Meighan
returned to Eng-
land to play the
male lead in the
British picture,
"Somehow Good"

from London

By Kathlyn Ha yd en

Photoplay's London Correspondent

tinues to be wherever Gertie is — and his devotion certainly
justifies the gossips to the extent of making their predictions
reasonable, so far as the lad is concerned.

So far. Miss Lawrence has flatly refused to discuss the matter
for publication.

BENITA HUME— back in England after a not-too-happy
experience in Hollywood — is playing an important role in
"Tew Suss."

In spite of all that expert cosmeticians did for her in Holly-
wood (and she tells me they did wonders insofar as making
her photographically attractive is concerned), and in spite of
better camera work than anything she had ever seen in Eng-
land— she definitely failed to make good in the film capital.

I saw not a little of her when I was in Hollywood — and I am
inclined to think that her lack of success was due chiefly
to nostalgia! Benita, you see, is engaged to marry Jack
Dunfee — a non-professional. And that six thousand
mile separation was more than she could bear.

Xow that she is once more at home, she's as gay
and chipper as the proverbial lark. I espied her the
other night at the Embassy Club — dancing with her
fiance — and she looked positively radiant.

STILL they come!
With us now we have that well-remembered
star of the silent days — Thomas Meighan. What
a sensation he was in ''The
Miracle Man"!

Now, his temples are
gray, but this six-foot-one
fellow with the soft-spoken
accent is as attractive as
ever. Even before the war,
Tommy Meighan was one
of the most popular Amer-
ican actors ever to "invade"
the West End. Like many
others of his fellow country-
men who return to London
after a long absence, he is
amazed to discover that no-
body has forgotten him!

Meighan is playing the
lead in a talkie version of
William de Morgan's novel,
"Somehow Good."

OXE of the most in-
teresting experiences of
the month was luncheon at
the Berkeley with Brian
Aherne — that monosyllabic
chap who appeared opposite
Marlene Dietrich in "The
Song of Songs," and is now
being starred in the British
film, ''The Constant
Nymph." I wish you could
have heard what he had to
say about acting before the
camera! It is impossible to
reproduce in cold print the
degree of scorn in his tone.
"Acting?" he repeated.
"There isn't any. They
tell you to start here, move

Ethel Barrymore is amazing

London by daring to walk where

slapstick comics trod — at the

Palladium

Having returned to her na-
tive England and Jack Dun-
fee, Benita Hume is radiant
again. She has a role in a
British film

to there, mind the lights, don't throw the shadow
of your nose on your chin — and they call it acting!

"Anybody but the actor is more important in
a film. If I was terrible in 'The Song of Songs.'
don't blame me. And if, as some have been say-
ing, I'm good in 'The Constant Nymph,' that
isn't my fault, either!"

Of course, he didn't expect me to take him too
seriously, I'm sure. And in any event, he is going
1 ack to Hollywood again for more of the same —
having signed a contract to appear in a film version
of a famous London play with a world-famovs
Hollywood star whose identity I have had to
pledge myself not to reveal for the time being.

THE night of the arrival here of Mary McCormic
(the Metropolitan grand opera diva who is
filled here as Princess Mdivanii, she accepted an
invitation from the British Broadcasting Company
to address English listeners.

To the intense surprise of everyone concerned,
her "act" consisted of a rapid-fire exchange of
wisecracks with a studio stooge — the main point
of which seemed to be her exulting over her ability
to elude servers of writs.

The next day, the B.B.C. received an avalanche
of indignant letters, the writers of which made it
known, in no uncertain terms, that when they
listen in on an opera singer's turn they expect to
hear a song — not back-chat about evading process
servers! [ please turn to page 105 ]

Pierre de Ramey
■ — title, Comte — is
heir to France's
bluest blood. He
invaded Holly-
wood seeking high
rank as an actor.
But, somehow or
other, Pierre got
lost doing bits

IT'S a wisecrack to say that all you
have to do to get rich in Hollywood
is to be a duke, or a prince, or a
count, and marry a movie star with
a lot of money. It started years back
when Mae Murray and Pola Negri were
looking over the Mdivani boys. Gloria
Swanson and Connie Bennett revived
the wheeze, The Marquis de la
Falaise being the prize. Lots of people,
right today, think there are any number
of foreign noblemen in Hollywood being
supported by rich movie wives.

There are foreign noblemen in Holly-
wood, and noblewomen — real princesses,
real counts, real barons from France,
Russia and Germany. But the ones I
know don't seem to be the ones I hear

The City

Real titled folk of old world's
aristocracy are lost in shuffle
of Hollywood reel personalities

By Jack Jamison

people talking about. Shattered wreckage of the war, to me, theirs is
Hollywood's saddest, grimmest story.

I think first of one whose name it will be kinder not to mention. I
think of him because of the desperate thing he did, which reveals so
starkly the tragic desperation that is in the souls of all of them. Once
the possessor of a vast fortune and vast estates in Europe; a duke. (I
daren't come any closer to his real title than that. Hollywood is too
full of good guessers.)

Late one night a cruise-car from the Hollywood police station brought
him in, his arm streaming blood from a bullet hole. Two gangsters had
held him up, and he had fought them off, he said. A clever detective,
noting the angle at which the bullet entered his arm, doubted the story.
Checked, it proved to be false. The duke broke down and told the truth.

Hungry, homeless, dispossessed of money and lands, he had come to
Hollywood to try to make a living. He could not even get extra work.
The studios took no notice of him. You had to get publicity to make
them notice you, a friend had told him. So he thought up the dramatic
tale of the gangsters and shot himself with his own revolver, the
revolver he had carried as an officer in the war. He was willing to do
that, to get extra work!

There is Georg von Richlavie, a knight of the old Austrian court. A
captain in the dressy Fourth Lancers. One of the most famous horse-
men in the Austrian cavalry. An internationally known polo player.
A brilliant military record on the Galician front, where he served
throughout the war. Germany and its allies lost the war. Money
and estates were snatched awav from Georg.

Royalty in the kitchen! Theodor Lodijenski, cafe owner (left) was a Russian
general. Chef George Stronin, of royalty, cooks incognito

Forgotten Nobles

He, too, followed the well-advertised rainbow to
Hollywood. Once in a great while he gets work as
technical adviser on pictures with European locales.
But horses are what he knows best, so mostly he does
the only other thing he can do — teaches at a riding
academy. A servant, with the entire public for his
master!

Then there is the Comic Pierre de Ramey, in whose
veins flows the bluest blood of old France. If you want
to locate him, phone the casting offices. They may
know where he is living. He does bits and character
parts, now and then, when he is lucky. But the last
time I tried to find him he seemed to have disappeared
without trace. Someone said he thought Pierre had
given up and gone back to France. To France? France
does not want her old nobility back.

Thinking of Pierre, I am reminded of another French
count I once met in Paris — dancing at Armenonville,
pushing fat women around the floor as a paid gigolo,
and I pray that PL-rre is spared such a fate.

There is Baron von Reichenberg — struggling to write
screen stories some studio will buy. Tall, dignified,
looking every inch the nobleman he is, the baron is
known to professors and scholars the world over as an
author of books on economics. His treatise on the
causes of the depression is said to be brilliant. But such

Baron Emil Forst von Forsteneck was
a wealthy Austrian diplomat and war-
rior. Now, he occasionally translates
stories for the studios

a treatise, although it may increase the wis-
dom and happiness of all generations to
come, is no scenario for Jean Harlow, or
Janet Gaynor either. And so, no money.
Most of the titles in Hollywood, you'll
notice, are Russian or German. The rea-
son is simple. Russia had a revolution.
Germany not only had a revolution, but
lost the war. In both of those nations the
nobles had everything taken away from
them. They became despised and hated
outcasts, forced to flee for their lives.
Some are driving taxis in Paris, some
washing dishes in London, trying to make

This princess writes a gossip column! Well, it's not exactly

Winchellian — but it's society chit-chat for a Coast paper. She's

Marie de Bourbon

an honest living. That's all the ones
in Hollywood want — to make an honest
living. And they can't. That's what
brings a lump to your throat. They
weren't taught to make a living. They
don't know how. All their courage
can't make up for that.

Baron Emil Forst von Forsteneck is
an Austrian. A diplomat, he served at
the Court of St. James in London. Two
torpedo boats he commanded, the Al-
batross and the Aragon, were sunk under
him in the Adriatic during the war. In
a year on the Piave front, as major of
heavy artillery, he was twice badly
wounded. The Treaty of Versailles
chopped Austria into bits. His fortune
went, and so did his beautiful estates.

He got a job in New York, teaching
fencing. Had to stop. Pain. The two
wounds. He came to Hollywood as far
back as 1921. Speaking four languages,
he gets occasional jobs translating and
adapting foreign books and plays for
the studios. He translated, among other
things, "The Kiss Before the Mirror."
He has been luckier than most of the

Princess Xenia of Russia

has cash to count. But it

belongs to a cafe !

Exceptional is this young woman
who may have the blood of czars
in her veins, but holds a good
studio job and is known only as
plain Natalie Bucknall

others — and he lives in a one-room
flat. His gracious courtesy, when you
visit him there, makes it a palace,
makes you proud to be his guest — but
it is still a one-room ilat.

Von Forsteneck's friend, the Count
von Hartburg, is not so fortunate.
The Count von Hartburg, whose name
was once announced in the great halls
of Europe to the rolling of drums, is an
extra, when he can get work.

THE women, on the whole, are far
luckier than the men. The Princess
Marie de Bourbon is writing a column
of society chit-chat for a Los Angeles
newspaper. Two other princesses,
sisters, Princess Olga and Princess
Natalie Golitizine, so beautiful that
they made even Hollywood heads
swim, got as far as playing bits. No
less a director than Lewis Milestone
tried to boost Natalie higher up the
acting ladder. Maurice Chevalier,
with whom she played, found her as
talented as she was lovely. But the
producers turned a deaf ear.

Discouraged, unwanted by Holly-
wood, both sisters gave up the battle
for screen success and married. They
won splendid husbands, at least.
Natalie married the Grand Duke Vas-
ilii, and Olga married into the fab-
ulously wealthy Vickers family of
England, manufacturers of Vickers
machine-guns. Their father is still in
California, practicing medicine in the
exclusive suburb of Pasadena. Few
of his ultra-fashionable patients know
that plain Doctor Golitizine is a prince
of the Russian blood royal.

No — the men get far the worst of it. Baron von Brincken
— a German, and a Prussian, to judge from the livid duelling-

scars on his face — was attached to the consulate in
San Francisco when the war broke out. Married to
an American girl there, he had two children; one, a
little girl, named Cecilie after the Kaiser's sister.
War came. People went into a frenzy. Everyone
with a German name was accused of being a spy.
Von Brincken, wholly innocent, was interned in
prison for the duration of the war. His American
wife divorced him. That broke his heart and his spirit.
Career shattered, home gone, cut off from his own
dearly loved children, he is one more Hollywood
extra. I last saw him in a small bit, playing the part
of a sailor in "Shanghai Madness."

COMPARED to that, the women are lucky indeed.
The Grand Duchess Marie of Russia sold the film
rights to her book, "The Education of a Princess."
She makes her home in New York, where she edits a
page for a magazine.

Natalie Bucknall — she uses the name of her English
naval-officer husband — receives a good salary as head
of the research department at M-G-M. A soldier in
the famous Women's Battalion of Death, a nurse in
command of the hospital trains sponsored by the
Grand Duchess of Russia, a spy in the British Secret
Service, Natalie owns practically every medal given
by the Allies. Yet I knew her for three years before
I learned she had them, so modest is she, and to this
day she will not tell her rank, though I suspect that
her father was a blcod-relative of Czar Nicholas
himself.

Natalie you may envy. I doubt
if you will envy the cashier at the
Russian Eagle Restaurant, across
from the Brown Derby on Vine
Street. All day long she sits at a
cash-register out in the hot,
smoke-filled kitchen, deafened by
the clatter of dishes, adding the
check,s the waiters bring to her
and making change. Once she
did not sit on a hard stool. Once,
when she seated herself, visitors
approached reverently, bowed
deeply, and kissed her hand. Be-
cause, you see, she happens to be
the Princess Xenia Shahowskoya
of Russia.

AND the dishes must make a
very unmusical clatter indeed
in her sensitive ears, for she was a
singer, with a rich, mellow voice
for which a great future was
prophesied in grand opera. But
even the Princess Xenia is better
off than the men. For she is still
young, still beautiful, as you may
see from her picture. She has a
chance, at least, of catching up
the torn and raveled threads of
her life and twining them to-
gether once more.

Of all the men's stories, I can
think of only one with anything
even remotely approaching a
happy ending. That of the young
Baron von Herwartz of Saxony.
When the soldiers of our Rain-
bow Division — many of whom,
ironically came from Hollywood
— finally captured the fiercest
fighting trench they ever at-
tacked, they found piles and piles
of dead Germans.

Only twenty men of a whole
German regiment still lived, and
only to save these remaining
few did their commanding officer
surrender. He was Hans von
Herwartz — sixteen years old!

Wounded, gassed and shell- [please turn to page 111 )

Princess Natalie Golitizine dazed Holly-
wood with her beauty, played with
Maurice Chevalier. But glory ended
and she married

A Horse Helped
Her Climb

He's No Longer
Invisible

SHE stepped off the train onto a horse. It was her first
horse, and her first picture, but Claire Trevor refused to be
daunted — in public. Then Fox discovered she was a
dramatic actress — and Claire got off the horse.

She was born in New York, grew up in New Rochelle, and
was a favorite prom-girl with all the young bloods.

She enrolled in the American Academy of Dramatic Arts,
because a girl friend was going. The first producer she went
to see asked about previous experience. Claire glibly rattled
< If the names of several hits. That was a mistake — she was
talking to the producer of one of them. But he liked her nerve
and gave her some trial lines to read. She didn't get the part.

So a New York agent sent her out in the provinces to play
in stock. When she came back, she rated the lead in " Whistling
in the Dark." After another play, '"The Party's Over," she
was signed by Fox — who put her in Westerns.

But not for long. She has had some grand parts since, but
hopes she won't get typed as ''hard-boiled."

Claire is a natural blonde and weighs 110 pounds. When
she's on time, it's an event, though goodness knows the girl
tries. She's always rushing some place.

She claims her heart was broken early, and it's okay by her.
But goes_ right on to state that she likes strong, silent men.

She thinks dancing is the best form of exercise, because it's
the only kind she really enjoys. She is serious about her work
but loathes routine. Once she worked two weeks as a stenog-
rapher when she was "off" allowance, because she wanted new
clothes for a college prom. The routine nearly finished her,
but she had the prettiest dress at the dance.

Claire looks particularly well in a bathing suit, but she adores
furs. Everybody thinks she is more than twenty-two, but
that happens to be her right age. She would like to sing, but
thinks she'd better stick to tennis.

UNIVERSAL wouldn't let you see him in "The Invisible
Man," except for a brief death scene at the end, so we're
going to let you have a peek at the star, who became a
star in the strangest manner Hollywood has ever known —
without even bjing seen "alive" on the screen!

Claude Rains was as much a mystery to many people in
Hollywood before he arrived to make the H. G. Wells story
as he is in the picture itself. He's still 'something of a mystery,
because he's one of those naturally mysterious people.

But really, his career has been no deep, dark secret, because
Rains, London born, initiated his acting journey in His
Majesty's Theatre as a call-boy, trained with the famous Sir
Herbert Beerbohm Tree and toured the British Empire before
he was called to the war, in which he served with distinction.

With the New York Theatre Guild he attained wide Ameri-
can recognition in stage circles, and Director James Whale, who
knew him in London, would hear of no one else for the weird
role in "The Invisible Man," which might still be disturbing
you these nights.

Rains is short and sturdily built, with a large, fine head
topped by an unruly forward-falling shock of black hair. 1 is
eyes, dark brown, are commanding, penetrating — at times al-
most wild looking.

His powerful, nervous hands are continually closing to-
gether and opening, especially when he talks. One eyebrow
arches radically in excitement, and his voice — well, remember
how it hypnotized you in "The Invisible Man?" It's just as
dynamic and startling in real life.

Attractive, surely — because he has been married three times,
to ravishing women.

And having lost his entire body during "The Invisible
Man," Rains will trv to get back at least part of it in his next
film, "The Man Who Reclaimed His Head."

Hollywood

Snubs Paris

Movie capital is self-reliant as
a style center. Designer no longer
looks to " shabby" Paris for ideas

Travis Banton, designer
of those stunning gowns
worn by Paramount stars.
He omitted his seasonal
Paris visit, finding home
more inspiring

■V '

FOR the first time in nine
years, Travis Banton,
designer of dresses for the
beautiful women of Par-
amount, is not making a sea-
sonal visit to Paris.

Because Banton does not
think Paris can show Holly-
wood anything more of im-
portance in the way of cos-
tuming. Not this year, any-
way.

Hollywood, as a style center,
has become self-reliant.

Oh, a man like Travis Ban-
ton, who creates such a quan-
tity of fluffs and ruffles for such
ravishing femmes as Colbert,
Lombard, Dietrich, Hopkins
and West, needs a bit of brush-
ing up on his ideas now and
then.

It's good for him to get
around to the cities and resorts
where women are fashionable
without being in the movies.

Paris might have been one
of these cities once upon a time
— as long ago as 1932.

But Banton went back to
Paris last year and found it

"shabby." What style there was across the ocean, he ob-
served, was in London.

This year, Banton, in search of design inspirations,
stopped at New York. Then, for sunshiny frills, he turned
South to see what women with money were wearing in
Palm Beach.

So, if the French capital wants to get back in the style
swim, it might do well to look over some of the Travis
Banton creations in forthcoming Paramount productions.
Paris can see how the smart women
of New York and Palm Beach may
influence one of the superior de-
signers of Hollywood — and that, to-
day, means of the world.

As for the Parisian influence mani-
fest in what the women of New York

Hi %

In fact, Paris borrows
from Banton. The way
he dresses Mae West
excites forty million
Frenchmen. Here he is
being flamboyant

By William
P. Gaines

are wearing, Banton sees it
growing less pronounced, year
by year.

''New York designers have
become adult and adept in
their art. When they draw
the lines of a dress, they no
longer peer apologetically
across the ocean and ask the
French: 'Is this all right?' '

The fact is evident that
Hollywood now influences New
York much more than Paris
does, and the trends which
come across the continent from
the West far exceed New
York's influence on Hollywood.

For some line or ornament
that New York offers Holly-
wood, it takes in return a
raging Princess Eugenie hat
from a Greta Garbo picture,

\/r

Claudette Colbert has a
"perfect figure for the
designer," Banton says.
Such a pleasure to sketch
Claudette's frock!

football player shoulders from a Joan Crawford
picture, a splash of the plumed and decollete past
from a Mae West picture.

Even Paris went into a frenzy, trying to simulate
the Mae West ensembles, and it took certain de-
tails from Deitrich — coq feathers, for instance.

Banton thinks prohibition repeal had much to do
with New York's fashion circles putting Paris to
shame.

" Women would wear any old thing to sneak into
Tony's or '21,' during the speakeasy era. But
with repeal, 'dining out' returned to favor. The
grand entrance is back in style. Women know they
will be seen, and they enjoy being seen at their
best."

BRINGING gaiety into the open, and a generally
more cheerful attitude toward conditions are re-
sponsible for the elaboration and intricacy of the
new gowns, Banton believes. Dress expresses a
people's spirit.

He is favoring a fairly straight silhouette. The
skirt suggests the natural curves of the body, with
some concern for drapery. More than ever before
is there a distinction between day and evening
dress, the skirt from eight to eleven inches off the
floor for daytime, and long — even with train, after
sundown. Banton is splitting some of his skirts.

Some of his most fascinating creations are worn
by Marlene Dietrich in "Scarlet Empress." This
is a costume picture, to be sure — a story of Cath-
erine the Great of Russia; but there always is the
possibility of some detail of dress or coiffure, when
exhibited by such a favorite as Dietrich in such a
picture, starting a widespread fad.

Who can say, vet? Perhaps every little high
school girl in the country soon will be imitating the
Dietrich headdress arranged by Banton. It is
simple, surely; something similar always has been
worn by girls in school.
Just a ribbon from the
back, with the bow on top,
and bangs — but it's the
little Dietrich-Banton
touch that makes it dif-
ferent. Slightly more
elaborate is the fillet of
flowers which Marlene
wears in the same manner,
in the same picture.

ft\ ^

SOMETHING else to
watch for from "Scar-
let Empress" is the ruche.
Will women go for this
neck treatment on a grand
scale? Such speculations
must be exciting to a de-
signer of screen dress, al-
though Banton modestly
insists he creates for each
picture alone, and not
with an eye for what effect
might be copied from it.

Keeping the stars be-
comingly gowned is a job
that drains a man's re-
sourcefulness, but, says
Banton, it affords many

delights to the designer. These women — even
if they care much more for acting than playing the
clothes horse — are grand models. Their personal-
ities are a constant spur to ingenuity.

"Only on very rare occasions do I have any
trouble with temperament. The first time I do a
woman's clothes, there is apt to be a struggle.
But when she learns to have faith in me, we get
along splendidly."

Banton says he has gained too much wisdom to
talk about "the best dressed woman in Holly-
wood," but he sees no danger in sprinkling his
comments more generally.

Every hi^h school
girl soon may copy
this ribbon head-
dress arranged by
Banton for the new
Dietrich film

Such a lovely Hollywood creation as this one by Banton,

worn by Marlene Dietrich in "Scarlet Empress," may

influence our styles more than Paris can today

"Libyan Tashman is dress conscious. She exaggerates every-
thing and is not a model for the average woman to follow. But,
in her individual way, she really dresses beautifully.

"Carole Lombard has great natural chic. She wears clothes
beautifully; can put them on and forget about them.

" Claudette Colbert has the perfect
figure from the designer's viewpoint.

"Norma Shearer dresses in ex-
cellent taste.

"Joan Crawford's gowns are
terribly effective.

"Marlene Dietrich is the most
natural dresser of any woman I have
known. Everything she puts on is
sublimated bv the Dietrich personal-
ity."

Banton thinks the coming of the
talkies was the greatest factor in
making Hollywood the style center
it is today.

"Taste has improved a hundred
per cent in the last five years.

"Hollywood was too isolated, too
provincial, before talkies brought a
great number of New York stage
people to the West Coast. They
came with their Fifth Avenue fash-
ions, and the movie colony accepted
the challenge."

Banton himself was a New York
designer [ please turn to page 107 ]

Marlene, so innocent looking to
be the "Scarlet Empress," has
a Banton-designed fillet of flow-
ers to wear, too

ungle Is

Stuffed and harmless is
the way Mrs. Buck pre-
fers her animals. But
she always mothers the
little ones

"YE always said it and I
always will. The jungle is no
place for a woman. Frank
"can brave it's dangers all he
pleases, but I tried it just once. That's
enough for me."

This was Mrs. Frank Buck speaking.
An attractive young matron with candid
blue eyes, beautifully waved chestnut hair,
and a peaches-and-cream complexion — wife of
man who filmed "Bring 'Em Back Alive."

They had recently returned to New York from a long jaunt
into the Asiatic jungles; a jaunt fraught with terrors, and from
which Frank Buck has not only brought 'em back alive once
more, but has brought back a complete filming of his thri.ling
animal hunting adventures, called "Wild Cargo."

"The jungle at night is a weird
place of strange, eerie calls, chatter-
ing monkeys and shrill, penetrating
noises. I don't know when the
animals sleep. They seem to be
more awake in the darkness than
during the daylight hours. For the
jungle after dark is like a magpie
meeting of all strange creatures.

"Frank will tell you the jungle
holds no terrors for man. Perhaps
that is because he understands the
animals so well. But for me it was
a nightmare.

"I went on a six mile jaunt
through a swampy, tropical jungle
of the Asiatic country with Frank,
and I shall never forget it. Mos-
quitoes and other strange insects
leaped out at me and plunged their
stingers into my skin. I was dressed
in heavy hunting attire. But that
made no difference. They seemed
to enjoy my flesh better than any
of the others'.

A jungle mother with young, mastered by

her man and silently resentful of the white

woman's freedom

Her husband can have the jungle to himself— Mrs. Buck

is through! On their return trip, Frank introduced the

ship captain's pet Japanese poodle to this heart-faced

monk he was bringing back alive

"Strange, darting creatures,
running to cover, frightened me.
f wanted to be so brave, never to
let Frank feel that I lacked com-
plete understanding of these wild
animals. But I guess he under-
stood my terror. I was ill in bed
from insect bites and nerves for
three days after we got back."

"Then you really fear these
wild animals, regardless of your
husband's reassurances?" I asked
her.

"Well, in the jungle I do fear
them. But I try to make up for
that by mothering the little ones
Frank brings into captivity. I
have a number of pet monkeys,
which I brush and bathe and feed,
and they are devoted little friends.

"But my fear of wild, untamed
creatures isn't the only reason I
claim the jungle is no place for a

IMo X lace for A Woman,

says Mrs. Frank Buck, and tells why

By Virginia Maxwell

woman." Mrs. Buck dialled on, with a twinkle
of humor in her eyes.

" Men prefer to be alone in the crude country.
They like to be comfortable, to strip down to
practically nothing in that torrid heat, like the
natives, and to go about yelling and swearing
when things go wrong. Surely, that's no place
for a woman.

"You know," she said, a little excitedly,
"men become accustomed to primitive environ-
ment much more readily than a woman. It's
amazing how quickly Frank can adjust himself.

"He gets into his jungle togs, and starts off
feeling rather civilized. But after a while the
spirit of the country seems to get into his blood
and he goes — shall I say, native? I mean, he
doesn't shave for weeks, and if his clothes get
torn and soiled and ugly, he actually enjoys it."

MRS. BUCK related how the "Sakai"— the
primitive natives of the Asiatic jungles — re-
gard white women. She told me they seem to
have a fine contempt for an unencumbered
woman. They're accustomed to seeing their
own women cowed, mastered by their men, and
they are silently resentful of the freedom which
the American woman is able to enjoy.

" We have our home in Singapore, you know,"
she continued. "That is really our head-

Look out, it shoots!
The peeping natives
feared the camera
was an instrument
of death and evil.
They approached it
with ready arrows,
but soon they, too,
wanted to act

A big job: Washing elephants! Natives bathe decoy beasts free of
scents which scare wild ones away from corrals

quarters. When
Frank is working in
the jungle country of
Ceylon, I make my
headquarters at a
hotel in Randy, that
famous Ceylonese
city where so many
people of the world
are bound to meet.
Charlie Chaplin
and Ronald Colman
love the spot, and
they have visited
there often.

"In the Eastern
country there is so
much for a woman
to do to keep her-
self in condition.
Everyone sleeps in
the afternoon. Then
you've simply got to
have a beauty treat-
ment every day, or
your skin would be
like elephant hide in
no time."

That then, I
reasoned, was the answer to the peaches-and-
cream complexion after living in the tropical
heat for years.

"You'd be surprised," she laughed, "if
you knew how many freckles are hidden
under my powder. You simply can't brave
that strong sun without having them crop
out all over your face."

"Tell me about the most exciting ex-
perience you ever had over there," I sug-
gested. Mrs. Buck thought a moment,
then said :

"I suppose the most terrible time was the
suspense I was under while Frank was on a
wild elephant hunt duiing his last trip.

[ PLEASE TURN TO PAGE 89 ]

Frank Buck's smile

of triumph when he

returned with the

new animal cargo

Cast Your Votes?

Previous Winners
from 1920 to Now

1920

"HUMORESQUE"

1921

"TOL'ABLE DAVID"
"ROBIN HOOD"

1923

THE COVERED WAGON'

1924

"ABRAHAM LINCOLN"
"THE BIG "PARADE"

1926

"BEAU GESTE"

1927

"7th HEAVEN"

1928

"FOUR SONS"

1929

"DISRAELI"

1930

"ALL QUIET ON THE
WESTERN FRONT"

1931

"CIMARRON"

1932

THROUGH"

SM1LIN

WHICH motion picture
released during 1933 is
worthy of this year's
Gold Medal award?

We believe that every reader
of Photoplay has come to deem
it a special privilege to be able
to take part in this selection
each year. After all, you award
the medal — your votes are the
last word!

The productions to receive
this highest honor in all screen-
dom in the past were well
chosen. And we know that this
year, as before, you will think
carefully about quality of direc-
tion, photography, plot and
acting ability of players, before
voting for a picture.

There are no rules to follow,
no limitations whatever.
Simply consider the photoplay
of your choice from every pos-
sible angle. Did it leave with
you a lasting impres-
sion as compared with
other films you saw
during the past year?
That is one of the ques-
tions you will want to
ask yourself.

On this page you will
find a list of previous
winners. Make your
nomination worthy of
stepping into the ranks
of these memorable
motion picture dramas.

Remember this array
of epic films that won
your favor in the past,
when voting this year.

You may use the bal-
lot on this page, pro-
vided for the purpose,
or send a letter naming

the picture you feel should be added to the honor roll of Gold
Medal winners. The award, of course, goes to the production
adjudged best by the greatest number of readers.

But don't misunderstand. It is not necessary that you be a
subscriber to Photoplay Magazine. We want everyone inter-
ested in the betterment of motion pictures to take part in
awarding this prize of prizes — to spur the producers on to even
greater things for the coming year. They try very hard to
provide quality entertainment. Your vote will serve as a note
of encouragement to these men of the picture industry who
strive to please you, the readers of Photoplay — the movie-
goers of the world.

It was in 1921 that Photoplay first announced its annual
award, and from that time on its readers have selected each
year what they considered the best production of the previous
year. This medal is the only award that comes from the vast
army of film lovers themselves.

For your convenience, we have listed fifty outstanding pro-
ductions of 1933. However, you are not limited to these. Any

Fifty Outstanding Pictures Released in 1933

Adorable

Hold Your Man

Prizefighter and the Lady,

Another Language

I'm No Angel

The

Berkeley Square

King Kong

Reunion in Vienna

Blonde Bombshell, The

Lad v for a Day

Roman Scandals

Bowery, The

Little Women

She Done Him Wrong

Cavalcade

Mama Loves Papa

Sign of the Cross

College Humor

Masquerader, The

Stale Fair

Counsellor-at-Law

Morning Glory, The

Sweepings

Dancing Lady

Night Flight

This Dav and Age

Dinner at Eight

One Alan's Journey

Today We Live

Double Harness

Only Yesterday

Too Much Harmony

Farewell to Arms, A

Paddy , the Next Best Thing

Topaze

Foollight Parade

Peg o' Mv Hear/

Tugboat Annie

42nd .Street

Picture Snatcher

Turn Back the Clock

Gabriel Over the White

Pilgrimage

Voltaire

House

Power and the Glory,

The

When Ladies Meet

Gold Diggers of 1933

Private Life of Henry

VIII,

White Sister, The

The

Zoo in Budapest

PHOTOPLAY readers each
year add one star produc-
tion to this famous list of
Gold Medal winners!

picture that was released in 1933 is eligible. And if
it was reviewed in either our January or February
1934 issue, you may be quite certain that it is
qualified.

THE medal, donated by Photoplay, is of solid
gold, weighing 123}^ pennyweights, and is two
and one-half inches in diameter. It is designed and
made by Tiffany and Company, New York.

The fourteenth annual award of this Nobel prize
of the cinema! And, to a world that is fast becom-
ing movie-minded, the selection of the proper
material will be an exceedingly important task, in-
deed. The picture chosen by the readers of Photo-
play sets a very definite standard — provides a new
goal for producers to shoot at in the future.

Voting begins now, rather than earlier in the
year, so that everyone everywhere will have had an
opportunity to see all the pictures released in 1933.
It takes time for these productions to reach all
parts of the country, and we want all concerned to
be in a position to pass good judgment.

Although the polls will not close for two or three
months (the date will
be announced in a later
issueof Photoplay),
we should like you to
send in your ballots
early. By signing the
coupon below, you will
be performing a sen ice
for the industry that
gives us all many
pleasant hours.

The counting of the
votes is a big job and,
besides, we're naturally
anxious to know what
you think of the film
fare that has been
served during the year.
Come on, now, which
one shall it be?

Photoplay Medal of Honor Ballot

Editor Photoplay Magazine

221 W. 57th Street, New York City

In my opinion the picture named below is the
best motion picture production released in 1933.

NAME OF PICTURE

J\[ame.

Address-

PHOTOPLAY'S

<jtolu]w6oo ] Jjeauti) Shop

Conducted
By Carolyn
Van W y c k

•

All the beauty
tricks of all the
stars brought to
you each month

Dennis Phillips creates two
nice coiffures for Irene Bentley.
Above, her sleekly combed hair
has tight curls at back. A sep-
arate piece is coiled about her
head in coronet fashion and
caught with a jeweled clip

Two views of an interesting and
unique coiffure for the sophis-
ticate. Try it only if you have
good features like Irene Bent-
ley's. Divide front hair and roll
on paper cylinders. Sleek back
remaining hair and roll ends in
small snail curls. When hair
is dry, comb over a curl stick

FAMOUS EYEBROWS

otwe, cres
peatedmfter

narrow, a^0^,sftaiv^>

ssss^

Cra

EVER so often a beauty
trend starts in Holly-
wood, sweeps over the
United States and dies
in South America or Aus-
tralia. Who could ever for-
get the platinum blonde
wave, the Greta Garbo bob
vogue, or the eyebrow high Joan

altitude records? signal t

Jean Harlow and Greta
Garbo come off with first and
second honors in those cycles.
But credit for the high, thin
eyebrow is more vague. An
ex-director from the film colony once said to
me, "The first narrow, skylarking brows came
to us from Lil Dagover in 'The Woman from
Monte Carlo.' Then Garbo adopted them
and most of Hollywood followed." That's
his story, anyway. And it is true that Garbo's
early photographs show a thickish brow.

But all is changed, as you shall see. Now
the warning is emblazoned from Hollywood —
let your brows grow !

One studio says that eighty per cent of
Hollywood's players are now going a la nature!,
so far as eyebrows are concerned, and in proof
of this offers the examples of Marlene Dietrich,
Miriam Hopkins, Joan Crawford and many other actresses.
This trend is as exciting as any of those that have gone be-
fore, and far more sensible. Because it can do something very
nice for faces that for years have sacrificed a natural brow line.
So before you go off for that next brow shaping, readers, think
twice what you are about. No girl, of course, will ever go back
to ungroomed eyebrows. But you can take a good lesson from
Hollywood if you will forget promiscuous shaping, let your
own grow and groom them without marring the natural line.

8Jf

The brow of today serves just one purpose — face ornamenta-
tion. W'hen man was first emerging from the Dawn Age, the
brow probably served another purpose. We are told that its
purpose on the face was that of a watershed, an umbrella you
might say, to keep rain and obstacles out of the eyes. Those
were the days when a brow was a brow!

We den't need the watershed effect today. It wouldn't

help with bits of soot and wind-blown dust. But we do need

that line of decoration. Blot the brows from

any face, and the result is one of startling

nakedness.

Two charming examples of normal brows
are Norma Shearer's and Colleen Moore's.
Norma's brows are a dark brown, like her hair;
Colleen's are black. You can look at early
pictures of Colleen and see that her brow line
has never changed. You can do the same
with Norma.

Jean Harlow and Clara Bow are interesting
eyebrow cases, because they haven't any.
That is, they keep them removed when work-
ing in pictures to facilitate make-up. These
girls use a fine, pencil-line brow, you know.
Jean's are good on the
screen for her type. I
always felt that Clara could
do much better with her
brows. She proved this in
"Hoopla," in which they
were gently arched — far
more becoming than the
straight line she uSed to
affect.

Pert Kelton's brows are
about the most amazing I
have seen. So straight you
almost expect them to turn
upward at both ends. But

harmony
eyes

.a c^and. sty^

Tbe strong.

, —"iSy**-

*.**"&?«>»>"

has never
".^f- career

FROM HOLLYWOOD

they add an impudent piquancy to her face and fit in well with
her screen roles. Greta Garbo and Joan Crawford have the
same type of brow — rugged, strong lines, whose character is
definitely reflected in both players' eyes.

The general shaping of brows more or less to one pattern has
been a big mistake. Brows are no more alike than other
features of the face. One girl in a hundred could stand the
Marlene Dietrich line. Yet this happens to be natural with
that star. Only blondes with perfect features
and big, colorful eyes should try the Jean
Harlow lilt. Yet we've seen it on one blonde
out of five for years now. The crescent shape
of Mae West's brows happens to be in perfect
accord with the shape of her eyes and even the
lift of her upper lip. Here, every line is in
harmony. Ruth Chatterton's longish, oval
eyes are framed in modified brows of just
that type.

I could go on and on with comments. Be-
cause, you see, the stars know the dramatic
value of eyebrows, and each tells a story in her
way. It has been said of the screen face that
brows and mouths are the strongest focus
points.

Then, that's more or less
true of us, too.

Let's all start a little cam-
paign for bigger and better
eyebrows. It's bound to be
an interesting experiment,
whether or not you decide to
stick by the new order. The
point is to get a natural line
once more.

This doesn't mean that
you must go around with
shaggy, unkempt brows.
You'll alwavs need tweezers.

toe™fi'.S>r«d

ma Shearer's eVc°UraMe>

easing

Pleats Jnce and Cj

cha

^2%^ «**»»*.

Th* «-£?/,!**

and

s "Pward

spirit o7aSIee? ab<>ve M» ,

fa^onnaaen^eneD

-^^-^

^2Siai

wsis

^-eVfe^wnicn

facilitat

Whetheror
adl*ititi?-noty°ulikPt

ywa'l>eriS°n""»<',j»0

must

Because almost every brow
has little stragglers that mar
the clear-cut line. This you
must preserve. Tweeze out
the stray hairs above and
below the brow and from be-
tween the upper nose space.
If your skin is sensitive, first
apply cotton wrung out of
hot water. This opens the
pores and makes the process
less painful. When you've
finished your job, apply a
little cream.

The perfect brow, Holly-
wood make-up experts tell us, harmonizes
with the general shape and expression of the
eye. That is the perfect brow, mind you.
But nature goes askew once in a while and
does very interesting things with brows. Some-
times you will see the most demure eyes
framed by saucy, contradictory brows. Elissa
Landi, for example, has one perfectly arched
brow, while the other breaks in a quizzical
point just above the eye pupil. The effect is
charming. Notice that she preserves it on
the screen too.

Perc Westmore, studio make-up expert,
says that the brow should be just as high
above the eye as the eye is wide, and that it should be just as
long as the eye. Many fail to approach the length standard
because their brows taper at the end and the hairs are often
light and fine. A subtle touch of your eyebrow pencil here
gives you the perfect line. Or you can make those ends grow
by the nightly use of a lash grower or white vaseline. This
takes time, of course.

In using your pencil at the outer ends, don't droop or lift
the brow exaggeratedly. Follow the natural line.

ttiaJce-

does

Little Ways
to Heighten

Your
Loveliness

A good nail tip from
Martha Sleeper. After
applying lacquer, run
the tip of an orange-
wood stick lightly
around cuticle to free it
of clinging polish.
Lacquer will some-
times settle there

If the hairs of your
brows are long and
strong, you will get a
most natural effect by
darkening your brows in
this special manner. In-
stead of drawing a
straight line with your
pencil, draw a series of
short, upward-slanting
lines. Then brush into
line with an upward
movement. This will
give you the effect of
Greta Garbo's or Joan
Crawford's brows.

If you are blonde,
black brows are often
distinctive and flatter-
ing. But we all know
that the blonde with

When space between eyes and brows
is broad, as with Rochelle Hudson, a
touch of brown shadow reduces the
apparent width. This tone is soften-
ing and flattering to all colored eyes

Just touch your dampened mascara brush to
the cake and pass lightly over brows for
natural darkening accent, suggests Lona
Andre. Brush trains them in neat line, too

black brows is a rarity. So decide whether you
want the often charming but artificial touch of
the black brow, or whether you'd like to be
more in natural harmony with a brown brow.
Red-heads, unless of the dark auburn type, can
never get away with black brows. They are
hardening and false looking. The right touch
for them is brown, which carries out a perfect
color scheme with the hair. Red-heads may,
however, use either black or brown mascara
with good effect.

Hollywood contributes one gorgeous eye
make-up trick for blondes. Leave your brows
fairly natural, but [please turn to face 96 ]

flic reasons ivomen cjiie
for prefe ■•■•■ n cj Camels

Women seem to want three things in a cigarette —
that it doesn't make their nerves jumpy, that it is
mild without being flat, and that it has a fine flavor
they don't tire of. That is why they like Camels.

"I never tire of Camels' taste nor do they get on
my nerves," says Mrs. J. Gardner Coolidge, 2nd.

"Camels are smooth and rich and certainly prove
that a cigarette can be mild without being flat or
sweetish," comments Mrs. Thomas M. Carnegie, Jr.

"The mild taste of Camels is always delicious,"
says Mrs. James Russell Lowell, "and they never
get on my nerves which I consider important."

Of course it is important.
No one wants jangled nerves.
Smoke Camels and you will
appreciate why Camel pays
millions more for its tobaccos.

CAMELS ARE MADE FROM FINER, MORE EXPENSIVE
TOBACCOS THAN ANY OTHER POPULAR BRAND

H
O

A
Y

<?<!

I Want

A Baby

•)•)

• Photoplay has not published a fiction serial in five years. Our
editors have read and considered hundreds of stories, searching for one
that moves with the snap and speed and compelling action of a great
screen drama —

• A story that is a fast stepping, engrossing, colorful romance, with
a tremendous love theme as its motivating force — universal in its
appeal. And now, at last

Photoplay Has Found It!

• A story pulsating with the spirit of life as we live it today.
Mothers and fathers will shed tears over it. Sweethearts will thrill to
it. You have never read any story like it. We dare to prophesy that
it will be the fiction sensation of the year.

• A story that reveals the hopes, the longings of the new genera'
tion. Riches, poverty, the kaleidoscopic whirl of New York life — and
a great love that nothing can touch or destroy — a love that breaks
through all barriers.

Photoplay Magazine is proud and happy to announce

The sensational serial by Merilyn Herd

I Want A Baby

Beginning in the May issue, on sale at all news stands April 5

The Jungle Is No Place For a Woman

[ CONTINUED FROM PAGE 81

"You see, the hunting party starts out
with tame Ceylon elephants as decoys with
which to herd the wild elephants," Mrs. Buck
explained. "They get these elephants to-
gether and wash them thoroughly before the
hunt. This removes any scents strange to the
wild elephants, which might cause them to
shy away.

""CRANK and his native boy servants had
-*- prepared the elephants, and they started
into the jungle for a long stretcli in their search
for the wild beasts.

"No radio, no telephones, no letters, not a
line of communication of any kind for weeks.
It seemed years. For rounding up wild ele-
phants is one of the most dangerous of all the
hunts.

"They are such powerful beasts that they
could crush out human life with a little push.
Strangely enough, native black boys believe a
woman to be bad luck to elephant hunters,
just as miners in this country feel skeptical
about having a woman around a mine.

"My husband did not expect me to go
with him into the jungle this time. But I
often wished I had gone along. For the sus-
pense of those weeks was dreadful.

"Finally, they brought in their herd of wild
elephants. But Frank had been hurt. A
python had sprung at him from a bush, and
in a flash had wrapped itself around one arm.
He was almost paralyzed after a few seconds of
the big snake's powerful constriction. But he
had quick judgment enough to draw his re-
volver with his free hand and shoot the reptile
from his arm.

"Gradually, they told me, the snake let up
on his grip and fell to the ground.

"Frank's arm was bruised and swollen for a
long while. But I had much to be thankful
for that he had gotten back at all, alive.

"COME of the men told me about the ele-
^phant hunt. Frank never likes to let me
think the jungle is a place of terror. He insists,
to me, that animals are not dangerous unless
you mistreat them."

The elephant hunt, it would seem, is one of
the shrewdest pieces of huntsman's strategy
imaginable. The decoy elephants are driven
into the jungle and they set up their call.
Wild elephants hear them and herd. The tame
elephants surround the wild ones and corral
them into an area of about ten acres. Then
four of the boys drive their own elephants into
the corral and surround one of the wild ele-
phants. They shackle the captive's legs to
the legs of the tame one on either side. The
forward and rear elephants move away — and
off marches the wild elephant like a prisoner
handcuffed to two giants, one on each side of
him.

Speaking of housekeeping in the jungle
country, the few times Mrs. Buck has had to
set up camp near the edge of the danger zone,
she has found keeping house a far simpler
task than one might imagine. Even simpler,
she says, than summer camping in our own
comparatively civilized country.

A LL water must be boiled to make it drink-
■*■ *able, but this process is carried out by the
native servants. They can be hired in abund-
ance for the price of one ordinary cook or
maid servant in America.

And many servants are required for "Mem"
and "Tuan" — which are the respective Hindu
terms for Mr. and Mrs. — as each servant does
only one task.

The shoe-polisfter, for example, will not make
beds. And the bed-maker will not clean house.
And the house cleaners will not wash "Mem's"
laundry.

The houses are built of thatched palm leaves
and bamboo, and divided into sections rather
than rooms. Charcoal for cooking is obtained
by burning bamboo wood.

Native boys gather it, build a mound of
earth around it and set it afire, so that it
burns into a hard, dry charcoal.

This was the sort of camp Mr. and Mrs.
Frank Buck set up at Jahore after they left
Singapore in February, 19,i3, to prepare for
their journey into the interior.

"There are wild fruits and herbs, and the

strange concoctions which only the natives
know how to make," said Mrs. Buck. "It
may not be as palatable as lobster Thermldor,
but then it is awfully good for the figure — you
just can't eat much of it."

T THINK one of the most interesting accounts
■*■ of this very interesting couple is the manner
in which they met five years ago.

Muriel Reiley was living in San Francisco
at the time. And Frank Buck, as yet un-
heralded for his daring adventures in the
jungle, had come quietly into San Francisco
harbor with a cargo of Asiatic animals.

Muriel read about these creatures, and her
curiosity was aroused to the extent of going
down to the pier warehouse to take a look at
them.

It was there she met Frank Buck, who
proudly explained about his wild friends. And
that day marked the beginning of a friendship
which ripened into a more sentimental re-
lationship as weeks passed on.

"We were married in San Francisco," Mrs.
Buck told me, "and went on our honeymoon
to China, where Frank had his headquarters.
We've made that part of the world our real
home ever since.

And now, when we get back occasionally to
the dear old United States, it feels more like a
visit than a home-coming."

AH, their native servant, who has been with
Frank Buck for fifteen years, regards America
with the same fear Mrs. Buck displays for the
jungle country.

TF ALI could speak English, you'd be sure to
-'-hear him say:

"This country with its wild autos and wild
people is no place for anybody — much less a
native black boy, who has to choke himself
with a stiff collar just to come into a hotel
lobby."

For Ah" screamed like a leopard when a well-
meaning haberdashery clerk on Broadway
tried to get a stiff collar about his unaccustomed
throat. He thought he was being choked in a
white man's trap.

The Bi£ Smash of the Air—

Borden's 45 Minutes in Hollywood

r>r>

Every Saturday, Cal York, Photoplay's star reporter, throws open the doors of the studios and
gives you the most absorbing, the most exciting, forty-five minutes of entertainment you have ever
had. You'll hear the stars talk, laugh — you'll have a share in their thrilling goings-on that are often
as dramatic, as colorful, as the pictures they make.

In addition, "4.3 Minutes in Hollywood" will give you a radio dramatization of one of the big
motion pictures about to be released.

Great drama, grand music, amusing and exciting
episodes and— THE YOICES OF THE STARS!

For Cal York at his best, presenting the greatest show
of the week, tune in every Saturday night on the Col-
umbia Broadcasting System.

8 P.
7 P.
6 P.

M.
M.
M.

Eastern Time
Central Time
Rocky Mountain Time

The Shadow Stage

The National Guide to Motion Pictures

(REG. U. S. PAT. OFF )

[ CONTINUED FROM PAGE 61

YOU CAN'T BUY EVERYTHING—
M-G-M

HpHE story of a scheming old woman who has
*■ devoted her life to the pursuit of gold. May
Robson is particularly fitted to this character-
ization, but her miserly tactics, in view of the
tremendous fortune she is hoarding, are ex-
aggerated. An excellent cast includes William
Bakewell, as May's son, Jean Parker and Lewis
Stone. Costumes and settings are authentic.

ONCE TO EVERY WOMAN— Columbia

HAPPENINGS during one day in a big hos-
pital. There's romance — Ralph Bellamy
and nurse Fay Wray. And drama — in a deli-
cate brain operation which head surgeon Wal-
ter Connolly starts and Bellamy finishes, there-
by winning the hospital management. The
film is skilfully directed, and you're bound to
like it, even though operations are not your
specialty. Mary Carlisle and Walter Byron.

I'VE GOT YOUR NUMBER— Warners

HPHE experiences of two "trouble shooters"
*■ for the telephone company — Pat O'Brien
and Allen Jenkins. Joan Blondell, switchboard
operator, gets in a jam with racketeers, but
Pat saves the day by tapping the lines. O'Brien
wisecracks his way through an excellent per-
formance. Action is exciting, dialogue racy,
and there's just never a dull moment. Glenda
Farrell as a phony psychic, Eugene Pallette.

LOVE BIRDS— Universal

SLIM SUMMERVTLLE-ZASU PITTS ad-
mirers will cheer the exceptionally fine per-
formances of their comedy favorites. A series
of misadventures finally land the two, as a pair
of suckers, into separate ownership of the same
run-down desert rancho. As ZaSu's sweet little
nephew, Mickey Rooney creates many amus-
ing incidents. Lots of action.

EVER SINCE EVE— Fox

A LIVELY little story with laughs galore.
•**• Wealthy mine owners George O'Brien and
Herbert Mundin go to New York, George falls
in love with Mary Brian, a gold-digger, takes
her back home and all sorts of misunderstand-
ings and comical situations arise. Betty Blythe,
Roger Imhof, Russell Simpson. Different for
its lack of sophistication.

NO MORE WOMEN— Paramount

"D OWDY fun with Victor McLaglen and Ed-
-*-*-mund Lowe together again. This time the
boys are divers on a salvage ship owned by
Sally Blane. The boys' rivalry over Sally,
climaxed with a breath-taking battle on a
speeding roller coaster and a deep sea rescue,
makes for good entertainment. Minna Gom-
bell and Christian Rub keep things rolling
along.

KEEP 'EM ROLLING— RKO-Radio

•"THE story of a man's devotion to a horse.
■*- Walter Huston, a cavalry man, falls heir to
Rodney. What the man becomes when the
horse is temporarily taken away from him,
their experiences through the war, his complete
sacrifice, even to removing his stripes to remain
with Rodney, tell the story. Huston superb,
Frances Dee good, Minna Gombell, Frank
Conroy.

EASY TO LOVE— Warners

PHILANDERING husband Adolphe Menjou
■*- falls for wife Genevieve Tobin's best friend,
Mary Astor. Whereupon wifie fakes an affair
with another friend, Edward Everett Horton,
who has always silently adored her. Daughter
Patricia Ellis effects a reconciliation in a sur-
prising manner. It's a bright, cheery little
film, and you'll find it amusing.

Well, Dick Barthelmess can get away
with it! He has the figure to play a
circus star, who goes into big busi-
ness, in "A Modern Hero"

DEVIL TIGER— Fox

XJTARROWING experiences in the Malay
-*- -*-jungle, when a party — Harry Woods, Kane
Richmond, Marion Burns, and a company of
natives — set out to trap the man-eating Devil
Tiger. In this exciting account, you see many
jungle beasts in fierce combat — sights not in-
tended for timorous souls. A romantic thread
winds its way through the thin story.

THE GIRL IN THE CASE—
Screen Art Prod.

"KyiAKING his debut as an American pro-
-^-•-ducer, Dr. Eugen Frenke, Anna Sten's
husband, offers a phantasmagoria about clown-
ish Jimmy Savo conveying nude Dorothy Darl-
ing from the lake in his bull fiddle case. The
music is lovely, but dialogue, direction and
story are poor. In all, it's a pretty bewildering
affair.

MANDALAY— First National

•"TOO bad that the story doesn't come up to
•*- the atmosphere. You fairly breathe Ran-
goon and Mandalay. Kay Francis is sadly mis-
cast as the shady lady whom Ricardo Cortez
deserts in a Rangoon dive. He reappears when
she is about to make "another start" with that
nice Lyle Talbot. So Kay very conveniently
poisons him. Cast tries hard, but it's no use.

LEGONG— Bennett Picture Corp.

DONE in Technicolor with an all-native cast
on the Island of Bali, this film venture of the
Marquis de la Falaise, husband of Constance
Bennett, provides entertainment of a rare
variety. The simple tale has as a background
the odd rituals, dances and cremation cere-
monies of the South Sea Islanders. Charming
musical score, and effective photography.

SLEEPERS EAST— Fox

JUST a dull yarn, the theme of which gets well
tangled, but it's about Wynne Gibson trying
to be bad because her pal's baby is hungry. A
stag party gets too rough and wien Wynne
walks out, the mayor's son picks her up. Pres-
ton Foster is a former suitor. Don't blame the
cast. They couldn't do anything about it.

BEFORE MIDNIGHT— Columbia

E STEAD of being all agog over the outcome
„. this murder mystery, one feels as if he had
taken a sleeping potion. The story as illus-
trated is being outlined by a police lieutenant
to a young sleuth. The star detective in this
case of cases is Ralph Bellamy, and June Coll-
yer provides the feminine allure. If mysteries
are your dish, this will pass.

THE MORNING AFTER—
British International

A COMBINATION of romantic adventure
and grand comedy makes this English
film delightful entertainment. Ben Lyon is at
his best as the young blade for whom the
"morning after" holds, instead of a hangover,
Graustarkian intrigue, countesses, secret papers
and firing squads. Humor runs high through-
out. Sally Filers rivals Ben for top acting
honors.

MYSTERY LINER— Monogram

ACCEPTABLE melodrama in the typical
Edgar Wallace manner. A radio-controlled
ship, with engines sealed, leaves port and be-

[ PLEASE TURN TO PAGE 104 ]

Photoplay Magazine for April, 1934

stockings smooth-iittin
cuts down Runs

Tim Hollywood
method will
work for YOU

Smooth-fitting stockings that cling
to your legs are a delicious bit
of flattery any girl can win for
herself just as the Hollywood
stars do.

Lux care for stockings saves the
elasticity they have when new.
Then stockings can give under
strain, spring right back without
breaking. That's why Lux keeps
stockings perfect in fit . . . cuts
down runs, too!

In fact, Hollywood uses Lux for

all lovely washable things. Barbara
Stanwyck says: "My maid uses
Lux for all my washable things —
sweaters, blouses, dresses, negli-
gees, stockings, too. It's so safe —
and it keeps things like new twice

Hollywood's 2-mlnute way
to keep sloekings lovely

Lux stockings after every wearing.
Don't risk soaps containing harm-
ful alkali or rubbing with cake
soap. These things ruin elasticity
. . . stockings get baggy, wrinkle
easily . . . the least strain may
start a run. Lux has no harmful
alkali. Anything safe in water is
safe in Lux.

Barbara Stanwyck, Warner Bros, star of
"Gambling Lady," says: "I couldn't get along uith
i out Lux! Colors come o::t perfectly — like neu "

" s*V

gfcJ^

retrod if
yvtect°ta,._ "be

***??****»%*&*

a^aV\,stoU=elJ

at
d\os

too.
b,«

Hollywood says _Don't trust to luck TRUST TO LIJX

Is Walt Disney A Menace To Our Children?

CONTINUED FROM PAGE 31

front of her like a trainer trying to prod a roar
out of a lion. All I got for my pains was:

"The child who cried in terror at the sight
of the smoke ogres in 'Lullaby Land' may have
been an unusually sensitive one, or one much
too young for that kind of story. The Big,
Bad Wolf in 'Three Little Pigs' is really more
amusing than terrifying. Much too ladylike,
if you ask me."

And so on, down to Professor Shaw, the
man who never failed a reporter in search of a
good quote. He is ninth in descent from John
Alden, Miles Standish's stooge, he reports in
Who's Who, in which same volume you may
read that on September 13,
1916, he walked from Phila-
delphia to New York in
twenty-three hours and forty
minutes. And what did I get
out of the man who started
the whistling moron feud?
This is what I got:

The answer was a decided "no" in both
cases; and, in addition, I found out that the
U. P. A. had just been sponsoring a special
Disney program. Mrs. Pascal, incidentally, is
delighted with the discovery of a form of enter-
tainment that appeals equally to parent and
child. So that was that, and I went on to
Columbia University, where I blundered into
a few wrong offices and finally wound up in the
department of elementary education, where
most of these fairy tale fights happen.

I had as nice a talk as you could ask with
Miss Jean Betzner and Miss Alice Dalgliesh of
the faculty, and Miss Annie Moore, a former

"Y\ THEN people criticize
W fairy tales as being bad
for children, they think that
they are living in the same
world as the child. They
aren't. As for the child who
cried at the ogres, children are
crying all the time. The emo-
tional reaction amounts to
very little. When grown-ups
take more than a passing
interest in fairy tales on the
screen, it is a sign of infantil-
ism." I wonder if that last
was a wisecrack.

I am not very well up on
such things myself, but
friends who claim that they
are, tell me that the Little
Red School House, a private
educational institution, is one
of the most advanced and
progressive schools for chil-
dren in the country. Here, if
anywhere, I figured, I should
be able to unearth a good,
ringing denunciation of fairy
tales in general and the Silly
Symphonies in particular, as
Public Enemy No. 1.

I must admit that Miss
Elizabeth Irwin, principal, did
better by me than anyone
else. Miss Irwin is not what
you would call a movie de-
votee. But, at the same time,
she is not particularly opposed
to fairy tales, not even the
scarey ones. There was noth-
ing about Sinister Sympho-
nies or Mickey the Menace to
be had out of her. But she
did consent to damn Mickey
and his pals with faint praise
(or praise them with faint
damns), when she said that
these animated cartoons are
the most harmless current
motion picture fare.

Dr. Brill Analyzes Walt
Disney's Masterpieces

THE next stop was at the
offices of the United
Parents' Associations of the
Greater New York Schools,
where I talked with Mrs.
Henry S. Pascal, chairman of
the board. I asked her:

1. Does her organization hate Walt Disney?

2. Does she, for goodness' sake, know of
anyone who does, and will say so?

HERE is the verdict of Dr. A. A. Brill, internation-
ally famous psychiatrist, on the effects of Walt
Disney's creations on both the child and the adult
mind. His is the last word in modern psychology on
the subject:

"I find that they [Disney's 'Silly Symphonies']
are enjoyed by grown-ups much more than by
children. To children, they are a visual representa-
tion of their fantasies. Children look upon animals
as other beings — I might say human beings — and to
see these animals perform wonderful feats is a dis-
tinct gratification to the child. The situation is
quite different in the case of the former: adults have
long ago given up fantasy and they are forever bound
to grim reality of routine life.

"The average person knows that he has to keep his
feet on the ground, and that no fairy will put gold
into his pockets. Nevertheless, the hilarity and
wholesome outbursts of merriment at such perform-
ances on the part of grown-ups show that they, too,
get an excellent outlet from Mickey Mouse. For the
time being, the grown-up is, as it were, 'narcotized'
by these performances, because they take him back
to childhood. He then forgets all about his drab,
routine problems and merges back into a period of
life when everything could still be attained through
fantasy. Temporarily, at least, he forgets all about
inexorable reality and relives his childhood. As soon
as the performance is over, he naturally realizes that
it was nothing but fantasy.

"I feel that the Three Little Pigs furnish more en-
tertainment than fright. To adults they stand for
another Silly Symphony, etc. In children the Three
Little Pigs may at first produce some emotional
reaction of fear. I have not noticed it, although I
have particularly watched children's reactions. On
the contrary, they seemed to be amused. I can,
however, imagine that some children might be a
little bit frightened, but the effect can only be tem-
porary. The average child in the movie is more than
five or six years of age. and at that age no impression
can be of a permanent nature."

gliesh, for example, thinks that Mickey is a
tremendous contribution — which is her privi-
lege, of course, but by this time I was getting
pretty sick of the chorus of praise. As a matter
of fact, I caught myself muttering, "This guy
Disney isn't so much, and if I had any kids,
they'd go to see Mickey Mouse only over my
dead body."

At this point it occurred to me that it might
be a good idea to go to the library and see
what I could find. So I nosed around a little,
and the first I knew I ran into this Professor
Overstreet again — I mean, some more dope on
him. You'll remember that I had already
heard rumors that a few years
ago he was going around town
making cracks about fairy
tales. Well, what I found now
set me to singing "Happy
Days Are Here Again!" This

is just a sample

"And now parents insist on
inflicting this primitivism,
this pathetic infantilism of
the race on their children,
forcing them to think uncas-
ually, magically, mirac-
ulously, forcing them to habi-
tuate themselves to the tech-
nique of dreamy wish-fulfill-
ment."

"Oh, boy," I told myself,
"what the man who said that
about fairy tales would say
about Disney is just nobody's
business!"

faculty member, who was visiting that day.

But they were all pro-fairy tale, pro-Disney,

pro-Mickey, pro-Big Bad Wolf. Miss Dal-

T CALLED the'College of the
-*- City of New York. I got
Professor Overstreet, And
he was very, very nice. He
said he would like to see me,
but he was about to leave
town. He was most sorry.
Somewhere I have read that
fairy-tale hating gets you. I
mean, after a while you can't
let it alone. A confirmed
fairy-tale hater will leave wife,
home, family, friends, give up
all if he sees a change to hate
fairy tales. So I thought I
would tantalize the professor.
I reminded him of past state-
ments, and said that what I
wanted to interview him
about was whether that went
for "Three Little Pigs," too.
I guess what it boils down
to is that Professor Overstreet
is not really a confirmed fairy-
tale hater, because he didn't
break down. I could actually
feel him smiling over the tele-
phone. Maybe I got him
wrong. I was pretty much
unnerved. But I'd swear that
he replied, " Well, I may have
revised my opinions since
then." I've heard that "may
have revised" line before.
Maybe it didn't mean this
time what it usually does,
but I figured it would be a
waste of time to check up.
Was my face red? No. By
this time it was blue.

But I was still game. After

all, Professor Overstreet is

just a philosopher.

I still had the psychiatrists to fall back on,

and my experience is that psychiatrists

are against [ please turn to page 103 ]

Photoplay Magazine for April, 1934

We don't feel a bit like bed. Let's talk about him

Ki]

Model illustrated
is the "Genevieve "

$6 and $6.50

Slightly higher west

of Bockies

Iwo dainty feet
went a-dancing . . .

— and, as you might expect, a pair of those trim, smart-looking,
new Styl-Eez ties adorned them. • Such dainty, foot -flattering
lines, exguisite tailoring and luxurious leathers could not fail to
attract admiring eyes — male as well as female. • And Styl-Eez
shoes have the added attraction of marvelous comfort — truly a
triumph in such graceful lasts. • An ingeniously curved inner
sole overcomes the tendency toward awkward inward rotating
of the foot. A light but firm shank supports the "long" arch and
a unique metatarsal maintainer of soft sponge rubber prevents
cramping of the toes. • Our newest Styl-Eez foot fashions for
spring are now being shown by leading shops. The modest
prices are an added recommendation.

Send this coupon for the Styl-Eez
Booklet of features and new models

The Selby Shoe Co., Portsmouth, Ohio

Please send me a copy of your Styl-Eez Booklet.

Name

Address

Sylvia Tells Mae Clarke How To Gain Energy

[ CONTINUED FROM PAGE 53 ]

So here's my famous "energy maker."

One hour before dinner, flop down on the
bed flat on your stomach. Don't put a pillow
under your head, but put a big pillow under
your ankles and up to your knees, so that your
legs are a little higher than your body and
your feet don't touch the pillow.

Lie in the middle of the bed and, with your
hands, grab hold of the bedposts as tightly as
you can. (And I hope you haven't gone
modernistic and have a bed without a head-
post.) Make the muscles in your hands and
arms rigid by holding very, very tight. Hold
so tightly that you can feel the muscles all
along your back and the nerves in your
stomach tightening up, too. Atta girl!

When you are so physically tired that you
can't hold tight any longer, relax your arms —
but do it slowly — and let them fall at your
sides into whatever position is comfortable.
Believe me, darling, you'll be nice and relaxed.
You'll be physically so tired that the old nerves
will have to stop jumping. Then, without
moving off your stomach and without taking
the pillow from under your legs, lie there until
dinner time. Oh, Mae, I'm telling you that
when you've been doing this for a week or so,
you'll feel fine, as if you could lick the world
with one hand tied behind your back.

Now here's your big energy diet — and it
won't put any weight on, either.

In the morning drink a glass of water — hot
or cold — with a tablespoon of lemon juice in it.
Then take a lukewarm shower, and use not
only a good mild soap but a stiff body brush,
scrubbing your body all over briskly, working
particularly on the spine and the upper legs.
Finish off by stepping under the cold shower
for a second, turned on full blast. If you
don't react properly, don't do that last bit.

Breakfast

Two sliced oranges (energy food)

One coddled egg (You know how to fix that
by now, I hope)

Two or three crisply toasted slices of whole
wheat bread with butter and honey (honey is
an energy food, too)

Clear coffee

Eleven O'clock
Big glass of tomato juice
Luncheon

Salad of water cress and parsley, chopped
fine, with one half of an avocado and spoonful
of cream cheese. (Use pure lemon juice over
this, as the avocado has plenty of oil)

Rye crackers with butter

Steamed artichoke with melted butter

Small dish of fruit gelatin with a little
whipped cream

Small glass of milk

Four O'clock

Basket of fresh strawberries or blackberries
or (when berries are out of season) an apple.
If the berries are sour, sprinkle a teaspoonful
of brown sugar over them, crush them and let
stand in the ice-box. They are refreshing and
stimulating. If you eat an apple instead, have
it cold and well-washed and be sure to eat the
skin, since there you find the best food
properties.

Dinner

Small bunch of green onions (tell the boy
friend not to mind. Make him eat some, too)

Three or four radishes

Three or four ripe olives

And (if you like it) a rye cracker with fresh
caviar

Potassium broth (Here's the recipe: Use
either turnip tops, beet tops, mustard greens,
spinach or Swiss chard. Chop fine and add
(also chopped fine) carrots, parsley and lettuce.
Cover with a quart of water — cold- — and let
simmer for thirty minutes. Strain. Press
out the juice and drink as soup. If necessary
add celery salt.)

Chopped meat. (Use any meat but pork.
If beef is used choose the cheapest neck meat,
for it has the most valuableproperties. Heat pan
thoroughly without grease. Sear the meat cake
quickly on both sides. Lay a piece of lean
Canadian bacon over it and broil. If beef is
used, eat it very rare.)

Fresh green asparagus

Small baked potato, skin and all

Baked pear or any fresh fruit

Demi-tasse

Every other afternoon at four o'clock, alter-
nate the berries or apple with a half glass of
milk and a half glass of cream mixed.

At bedtime take a small glass of grapefruit
juice.

Now, Mae, you can probably guess by this
diet that I like you. I wouldn't be giving you
caviar if I didn't. Well, I do like you. After
all the hard knocks you've had, you deserve
a little caviar in your life. Anyhow, I'm a
great admirer of yours.

I don't want you to take much exercise while
you're storing up your energy. Be sure to
avoid any violent exercise. You c. n swim a
little (and with your lovely figure you can't
resist putting on a bathing suit), play tennis a
little. Walking is fine for you (and for every-
body, for that matter). It is nature's most
normal, least exhausting exercise. But don't
take any more exercise than that for a while,
until your strength is absolutely restored.

And now I want you to get busy taking
those lines out of your neck. Every night and
every morning wash your neck with a good
mild soap and a fine face brush. That takes
off the dead skin. Then for a few minutes
gently massage yovr neck with cold cream
using a rotary movement from the shoulders
and breast-bone up. Remove the cream. At
night leave just enough cold cream on to sink
into the pores.

And I give you my word that's all you need
to do.

Mae, you're a brick. And every other girl
who works when she doesn't feel well is a
brick. But if you're going to carry on and
keep up the good fight, put your energy into
the bank — just as you put a part of your
salary check in. The money comes in handy
on a rainy day. The energy is for the grand,
sunshiny days when you want lots of pep and
lots of vitality to enjoy life and health!

Lots of love and all the success in the world.
Sincerely,
Sylvia.

Answers by Sylvia

Dear Sylvia:

I read about the complexion diet that you
gave Jean Harlow but I don't quite under-
stand it. While I'm taking the diet should I
eat other food as well ?

F. G., Las Yegas, N. M.

I'd like to know your definition of the word,
diet. Do you think you can eat chocolate
eclairs and ice cream sodas along with the
reducing diets — and if so, what good would
they do you? I plainly stated, "Once a month,
for five days, do this." Then I gave the diet.
If I had wanted you to have anything else
along with it, I would have said so.

You're supposed to stay on the complexion
diet for only five days out of the month. Giv-
ing up a little solid food for so short a time
won't hurt you. The reason you have bad
skin and acne is because you eat your head off
— and can't pass up rich pastries. Now stick
on that diet and don't be such a foolish girl
any more.

My Dear Madame Sylvia:

I wish you would tell me how I can make my

POOR Aunt Sylvia — how those let-
ters do come! But what a joy
when I see how many are finding
life brighter and happier through
my help! If you want help, simply
write Sylvia, care of PHOTOPLAY
Magazine, 221 West 57th Street, New
York City, enclosing a stamped self-
addressed envelope. No obligation
— glad I can be of assistance.
SYLVIA

eyes bright and sparkling. I envy girls with
brilliant eyes and wish mine were, too.

R. T. E., Dayton, Ohio

Well, first of all stop envying other people.
That's a waste of time. And if you want
sparkling eyes you can use your time to better
advantage. Do you know what makes spar-
kling eyes? Well, I'll tell you. Good health!
There is no other way to get them, and the
way to have good health and plenty of pep is
to follow my health routine — to go on my diets
and do my exercises every day of your life.

My health routine gives you vitality. Vitality
shines in your face and makes your eyes bright.
Start in today to get health and vigor!

Dear Sylvia:

I have a bump right on the end of my nose
and it looks very ugly. Is there any way I
can remove it?

B. H., Houston, Texas

Aha! I've caught you. You haven't been
reading all of my articles, for I told you what
I did for Ruth Chatterton's nose. You never
can tell when my articles have advice that is
meant not only for the stars but just for you,
too. Here's the nose routine:

It takes infinite time and patience and you
can do it only if you're as careful as if you
were modeling something beautiful in marble.
Place the forefinger of each hand on either side
of the bump, then press very, very gently.
You must not press hard for that will make
your nose red and bulbous. And do not press
for more than a half a minute at one time. But
do it over and over each day. Then with the
thumb and [ please turn to page 101 ]

Photoplay Magazine for April, 1934

You have a thrill coming!

All America is acclaiming a new radio
hit . . . Borden's "45 Minutes In Holly-
wood." A whole nation of movie fans
is having a thrilling date with its
radios every Saturday evening at

8 P. M., E. S. T., over the Columbia
network. (7 P. M., C. S. T.; 6 P. M.,

M. S. T.). They're hearing about the
real Hollywood .
ous, adventurous

exciting, glamor-

TUNE IN TO NEW THRILLS THIS SATURDAY!

The Borden Company cordially invites
you to be its guest every Saturday
evening from now on. Remember:

Saturday evening at 8 P. M., Eastern
Time, 7 P. M., Central Time, 6 P. M.,
Mountain Time. Don't miss it !

Hear Hollywood at work — go right on the
set with your favorite stars.

SCENE FROM 20TH CENTURY'S MOULIN
ROUGE. " STARRING CONSTANCE BENNETT

SCENE FROM RKO- RADIO'S HIPS. HIPS,

HOORAY." STARRING WHEELER AND WOOLS EY

Hear Hollywood music — the newmelodies
Hear the big scenes from the latest pic- as only Mark Warnow can play them. Hear Hollywood at play — know the

tures — previews stirringly dramatized. gaiety of movieland.

"45 MINUTES IN HOLLYWOOD"

Presented by the makers of Borden's Fine Cheeses, Borden's
Evaporated Milk, Borden's Condensed Milk, Borden's Malted Milk

Borden's, makers of Fine Dairy Products for
over 75 years, deliver milk and ice cream in
many of the leading cities of America.

Tricks For Eyes Like The Stars

By Carolyn
Van Wyck

[ CONTINUED FROM PAGE 86 ]

mascara the lashes. This intensifies the eyes
and keeps the brows in natural harmony.
Notice very much this same effect with Miriam
Hopkins, Greta Garbo and Marlene Dietrich.
Their brows are seldom really black.

I have found that a dampened mascara
brush just touched to the cake is a splendid
way of using a brown darkener. Then brush
the brows outward, touching the hairs lightly.
When dry, brush into place. This method gives
each hair the slightest coating of darkener,
and the result is that it would be hard to know
anything had touched those brows. This is a
particularly good ruse for the blonde.

Here is another trick that the girl or grand-
mother can employ to good effect. Apply the
tiniest touch of grower or vaseline to a brow
brush, then draw your brows into a neat line
with it. It gives the hairs a slight sheen and
darkens them ever so lightly. This accent is
never apparent if you will use the grower or
vaseline sparingly. It's good for the brows,
too.

If your brows are wide, you can make them
appear narrower by taking a tiny dab of
grower or vaseline between your thumbs and
first fingers and pressing the brows between

Muriel Evans knows

that eyes need nightly care

for health and beauty. She

gently taps in with fingertips

a good, nourishing cream over

and under them, leaves it on

them toward the center. If your brows are
too close to your eyes, always brush them up
and away. That's the natural line of growth,
anyway.

You can really do a lot with your brows if
you will pay a little attention to them. The
lines of your coiffure, your lip rouge, must be
definite and even. This applies to your eye-
brows, also.

If at this point you are interested in chang-
ing your face, probably for the better, join me
for a brow-growing month.

You may make some new and valuable dis-
coveries about your face, and decide with me
that Hollywood is wise in saying, let your
natural brows grow.

Some eyes can stand a bit of
under-lining with pencil to accent
lower lashes. The line must be
very light and subtle, as shown
on Muriel Evans' eyes. Never,
never make it black and heavy

IF you'd like to know about some splendid
new face creams and lotions, write for our
leaflet, "New Skins for Old." Leaflets on
other subjects include skin conditions, hair,
nails and personal daintiness. All are yours
for a separate, self -addressed envelope for each
leaflet. We are also happy to answer per-
sonal beauty problems. Address Carolyn Van
Wyck, Photoplay Magazine, 221 West 57th
Street, New York City.

Photoplay Magazine for April, 1934

SYLVIA SIDNEY

and

FREDRIC MARCH

in Paramount's

"GOOD DAME"

The Appeal of

LOVELY BEAUTY

nvites . . .

POWDER

. . . Creating a satin-
smooth make-up
that ivill cling for
hours, ]\Iax Fac-
tor's Brunette Face
Poiuder blends in
color harmony •with
Sylvia Sidney's
broiunette coloring.
Perfect under any
close-up test.

amoajci^

ROUGE

. . . Harmonizing
•with the color tone
of the poiuder. . .
Max Factor's Car-
mine Rouge imparts
a soft, lifelike glo%u
of color to the] cheeks
. . . Smooth, like
finest skin texture,
it always blends
evenly.

Learn Hollywood's Secret of Giving Beauty

Romantic Appeal with Color Harmony Make- Up

Color has an emotional appeal. Psychologists know that certain
color tones and color harmonies attract, actually excite desire.

In Hollywood, we have proved this . . . and to give beauty a
secret attraction, Max Factor, Hollywood's make-up genius, cre-
ated color harmony make-up to emphasize the allure of each type
of blonde, brunette, brownette and redhead.

Now the luxury of color harmony make-up. .. face powder,
rouge, lipstick in harmonized shades. .. created originally for the
htars of the screen by Max Factor, is available to you. Max
Factor's Face Powder, one dollar; Max Factor's Rouge, fifty
cents; Max Factor's Super-Indelible Lipstick, one dollar. Featured
by leading stores.

'jf**

*^m?

<^H 'crtJLU COXrCXV

SOCIETY MAKE-UP . . . Face Powder, Rouge, Lipstick
•^f in Color Harmony -Af

LIPSTICK

. . . Accenting the
color appeal of the
lips, Max Factor's
Super . Indelible
Carmine Lipstick
completes the color
harmony make-up.
Moisture-proof. . .
. the color remains m — ^^^^^^^^-^^^^^^_^^^_^^^^^^_^^^^^^^^^^^^_^^^^^^___^^^^__—

uniform for hours. ^0 W FREE . . . Your Color Harmony SMake-Up Chart

Fill in and mail coupon to Max Factor, Hollywood, for your Complexion Analysis
and Color Harmony Make-Up Chart; also 48-page Illustrated Instruction Book,
" The Neiv Art of Society Make- Up. "

Note : For Purse-Size Box of Powder and Lipstick Color Sampler, four shades,
enclose 10 cents for extra postage and handling.

MAII COUPON TO MAX FACTOR, HOLLYWOOD 1-4-76

COMPLEXIONS

Vtry L.ghc O

Mtduim D

Ruddy D

Sallow D

Freckled D

oi.vr a

SKIS

Dry QO.Iy.-Q

Blut--
Gray..
Grt*n_
Haiti.

Black.

LASHES

iCclfl

Lghl D

Dark D

ACE

HAIR

BLONDES
Ughi-.Q Dark_.0

BROWNETTES
Lighc-.D Dark. .Q

BRUNETTES
Ltght-.D Dark__0

REDHEADS
Light. .□ Dark..D

typt rf&o»r and alio
<Mk„,_ O

The "Three Radio Rogues" who played the goofy electricians in "Going Hollywood." Everyone said
their impersonations of Kate Smith, Morton Downey, Vallee and Columbo were the hit of the picture

LTh.

e / vnswer

WHAT a deluge of letters the Answer
Man received this month. The big
question was: "Who were the three
lads who sang in 'Going Hollywood'?" Every-
one who saw them went into raves and some
moviegoers wrote in to say that they practically
stole the picture. It looks like keen competition
for Crosby, Powell, Vallee, et al.

Well, here's the low-down on the boys.
Over the air they are known as the "Three
Radio Rogues." In private they answer to
Eddie Bartell, Jimmy Hollywood (that's his
real name) and Henry Taylor. They were all
born in Brooklyn, New York.

Eddie Bartell was a salesman in a sports
Is store, prior to which he played pro-
fessional baseball on a Brooklyn team. Jimmy
Hollywood was a brokerage clerk in the finan-
cial section of New York. After the crash, he
decided on another profession and turned to
radio work. He and Eddie, who had become
known as a radio performer, started appearing
together on commercial programs over smaller
Brooklyn stations.

And here's where the third member, Taylor,
comes in. He was selecting and buying dresses
for a large concern in the home town. The
company had a program scheduled to go on
over the same station on which the other lads
were appearing. The people hired for the
occasion were injured in an automobile acci-
dent on the way to the studio, and so Jimmy
and Eddie were asked to substitute. Henry
said he would throw in a couple of impersona-
tions of Crosby and Columbo. He said he'd
rather croon to the ladies than listen to their
complaints about dresses. The program was a

Read This Before As\ing Questions

Avoid questions that call for unduly long an-
swers, such as synopses of plays Do not inquire
concerning religion, scenario writing, or studio em-
ployment. Write on only one side of the paper.
Sign your full name and address. For a personal
reply, enclose a stamped, self-addressed envelope.

Casts and Addresses

success, and from then on the "Three Radio
Rogues" impersonated and kidded almost any-
one and everyone you could mention. The
Kate Smith and Rudy Vallee impersonations
in "Going Hollywood" just about stopped the
show, some readers claim.

Jimmy Hollywood's favorite actress is still
the girl of his dreams, Theda Bara. Henry
Taylor swears by Marion Davies, while Eddie
Bartell just can't seem to make up his mind
on any one actress. He thinks they are all
grand. After the "Rogues" finish their per-
sonal appearance tour, they are scampering
back to Hollywood to make more pictures.

M. G., Chicago, III. — Yes, Mary, George
Burns and Gracie Allen are married to each
other. Georgie is a New York City boy and
Gracie hails from San Francisco, Calif. When

they first started as a team, Gracie was the
"straight" player, with George giving the
funny answers. But the audience got more
laughs at Gracie asking the questions, so since
then she has been on the comedy end of the
team. The only serious answer she ever gave
George was when she said "yes" to his proposal.

Evelyn Roth, Binghamton, N. Y. — The
selection which Paul Lukas played and sang
for Katharine Hepburn in "Little Women" is
called "None But a Lonely Heart." If your
local music dealer doesn't carry it, you can
get it from the Schirmer Music Company, 3
East 43rd Street, New York City.

A. R., Athens, N. Y. — I am so pleased that
you like your "star" bracelet. A vast number
of young ladies have written to me saying
how much their bracelets have been admired.

Shirley Delmonico, Morristown, N. J. —
Shirley, Garbo doesn't make a practice of
personally autographing photographs. None
of the scenes in "Little Women" were taken
at the Alcott house in Concord, Mass. The
producers sent an architect and a couple of
carpenters to Concord to take measurements
and draw up plans for the house which was
duplicated in Hollywood, and which you saw
in the picture. It was one of the truest
pieces of reproduction work ever seen on the
screen.

Allene Jones, Minneapolis, Minn. —
Allene, here's the way the Mae West situa-
tions stands : [ please turn to page 100 ]

Photoplay Magazine for April, 1934

PHOENIX

• Debutantes are walking
these "Doggys" this Spring

There's a bite in this one. Collie, Spaniel,
Greyhound and Setter are not really dogs at
all. They're the names of Phoenix "Doggy"
Hosiery colors, new for Spring! Spaniel is a
rich beige, with a lot of personality. Setter is
lighter, but with a little more warmth. Collie
is a lovable light beige. And Greyhound is a
dependable, faithful neutral, that likes every-
body. All these Phoenix "Doggys" are very
friendly with all Spring costume colors — the
reds, the greens, the ever smart blues and
black. Ask to see them — 85c to $1.95.
"Everyday" sheers for walking, No. 705, $1.

Ring -around -the- hose -y
no longer smart

can imagine what this perfection does for
your legs. As some great character has said —
beautiful legs deserve Phoenix Shadowless
Hosiery to make them even more beautiful;
other legs need them for the same reason!

In addition to being ringless, Phoenix
Shadowless Hosiery has all the smart Phoenix
features. Custom-Fit Top — that stretches
both ways to give you extra comfort and a
neater thigh. "Long mileage" foot with
Tipt-toe, that means exactly what it says —
longer wear. Tailored ankles, and shadow-
point fashion marks that are practically in-
visible. All silk seams. You can buy Phoenix
Shadowless Hosiery for $1.25 to $1.95 the
pair. Ask to see "Fluff," No. 779, $1.25.

• Advice to Pedallers

• Tailored to the toes!

That game's out, since Phoenix perfected its
new Shadowless Hosiery! Here, at last, is the
clear, even-textured stocking that women
have been waiting for. Not a ring in sight! You

Bicycling, roller skating and walking are still
favored by the Fun-Loving Leisure Class for
exercise. Members of the Fun-Loving Leisure
Class are usually pretty smart about a lot of
things — including their hosiery. They like
Phoenix for almost any kind of sport because
it's reinforced where wear is hardest. Yet it
manages to look feminine!

"Tipt-toe" and "Duo-heel" are the names
of these little wear-for-ever devices that
make Phoenix Hosiery so sturdy. (And so
popular with gentler sportswomen who don't
feel like ladies unless they're wearing silk.)
They're part of the famous Phoenix "long
mileage" foot. They don't show — but how
they do work! Proving that you can always
look well-groomed — no matter how rough
your games are. Phoenix Certified Silk takes
part of the credit for the wonderful service
that's so surprising with all this beauty. Try
Phoenix "Standby," one of the service sheers,
No. 772, $1.25 the pair.

Pumps and oxfords are still the best sellers in
the best circles — worn with the sheerest ol
Phoenix stockings, made of Certified Silk.
Phoenix conspires to make your legs even
more alluring by tailoring the ankles divinely,
using fine silken seams and shadow-point
fashion marks. Ask for "Street," afternoon
Shadowless chiffons, No. 766, $1.25.

• Satin forecast —
sleek and shiny!

Very pretty — but hazardous if you're not
careful about your stocking tops. Phoenix
Custom-Fit Top fits like the skin, whether
you're tall, short, plump, slim, or just aver-
age. Its two-way stretch fabric moves east
and west, or north and south, or both, accord-
ing to your need. You'll enjoy perfect com-
fort, enviable grooming, when you wear
Custom-Fit Top, exclusive with Phoenix.
For evening, "Mist" super-sheer Shadowless
suede, No. 796, $1.95 the pair.

PHOENIX HOSIERY

j£t/>

CUSTOM-FIT TOP

IOO

Photoplay Magazine for April, 1934

s/y/% ignorance v\

& BUT BLISS . . .

WAS ANYTHING

proclaimed a condition
RENT to all her Friends*

ENTRUST YOUR CHARM TO NOTHING LESS SURE THAN ODO-RO-NO

What a shock to any nice girl to dis-
cover that her presence, because of
underarm perspiration, is repulsive to
every man and woman she meets.

And what a tragedy that those who most
often offend can rarely detect their own
offense. Shame . . . humiliation . . . and
social defeat.

For perspiration moisture in the con-
fined armpit forms an acid that ruins
dresses and turns friends against you. And
your daily bath is no help after the first
few minutes.

But Odorono, a doctor's prescription,

protects you so completely that your mind
is free of all fear of offending. And by
checking, completely, all underarm mois-
ture, it saves your dresses from ruinous
stains.

ODO-RO-NO IS SURE

For quickest, most convenient use, choose
Imtant Odorono. Used daily or every other
day, it gives complete, continuous pro-
tection. For longest protection or special
need, choose Odorono Regular and use
it twice a week. Both have the original
sanitary applicator. 35c and 60c sizes.

n offensWe.*0

so Q1 ... \m

^ers,.;^to nepers ^

for >*>e

voor
Odo-<°

peQce

ODORONO

fe^

Rvth Miller, The Odorono Co., Inc.
Dept. 4-Q4, 191 Hudson St., New York City
(In Canada, address P.O. Box 2320, Montreal)
I enclose 10c for a special introductory bottle
of Odorono with original sanitary applicator.
(Check the type you wiih to try) . . .
□ Instant Odorono Q Odorono Regular

Ask the Answer
Man

A'ame_

Address .

I CONTINUED FROM PAGE 98 ]

5 feet, 2 inches in stockings and 5 feet, 5 inches
in shoes. Mae weighs 120 pounds. She tells
me that she has been celebrating birthdays
every August 17th since 1900.

Mrs. L. Block, London, Eng. — The latest
Ruth Chatterton picture is "Journal of a
Crime." Ruth is not scheduled to appear in
another picture. After a much needed vaca-
tion she plans to go into the production end
of the business.

Ward Quarxstrom, Minneapolis, Minn.
—Fay YVray was born in Alberta, Canada, on
September 15, 1907. She is married to John
Monk Saunders. Lew Ayres, Muriel Evans,
Dorothy Wilson and Virginia Bruce also
claim your home town as theirs.

Rose Morgan, New York City. — Paul
Kelly's next release will be "Fur Coats," in
which he appears with Aline MacMahon and
Ann Dvorak. July is quite a popular birthday
month. John Gilbert starts the celebrating
on July 10th; Sally Blane follows on the 11th;
Richard Dix, the 18th; Hoot Gibson and Ken
Maynard on the 21st, and Clara Bow and
William Powell finish up on the 29th.

Jane Devitt, Spokane, Wash. — Fred As-
taire was born in Omaha, Neb. At the age of
eight years, he was touring on the Orpheum
Circuit with his sister, Adele. The team broke
up when Adele married Lord Cavendish.
Among the plays Fred has appeared in are:
"Lady Be Good," "Funny Face," "Smiles,"
and " The Band Wagon." His latest hit, prior
to his movie debut, was "The Gay Divorce."
After appearing in two pictures, he went over
to London with " The Gay Divorce" company
to fill an engagement there. When that's
over, back to pictures for Fred. Nelson Eddy
was the blond lad who sang in" DancingLady."

Betty Stone, Durham, N. C. — Kay John-
son was the girl who played the part of Hanna
in "Eight Girls in a Boat." Prior to that she
appeared in "American Madness" and "Thir-
teen Women." Her next is "Transient Love."
Kay is married to Director John Cromwell.

Dorothy Kinney. Brownsville, Tenn. —
Dorothy, does Mrs. Cantor know how hard you
fell for Eddie? Eddie is a New York City
boy, born there January 31, 1892. He is 5 feet,
8 inches tall, weighs 140 and has black hair and
brown eyes. He has five daughters, Marjorie,
Natalie, Edna, Marilyn and Janet. His latest
picture is "Roman Scandals." Don't miss it.

Mar iorie Allen, Vancouver, B. C.,Can. —
Raul Roulien has appeared in a number of
English speaking pictures, and has spent a
great deal of his time making Spanish versions.
He was born in Rio de Janeiro, October 12,
1905. Is 6 feet, 1 inch tall, weighs 160 and
has black hair and brown eyes. He made his
first stage appearance at the age of five years.
He has written and staged more than twenty
plays. He is the composer of the song "Adios
Mis Farras," the sale of which ran up to
1,700,000 on records and 386,000 printed sheets
in seventy days. His latest picture is "Flying
Down to Rio."

Rose Clark, Spokane, Wash. — Spencer
Tracy has been in pictures since 1930. He
has appeared in too many for me to list here,
so I'll give you a few of his outstanding ones.
"Young America," "Quick Millions," "20,000
Years in Sing Sing," "The Power and the
Glory," "The Mad Game," and "Man's
Castle." His latest is "Looking for Trouble."

Photoplay Magazine for April, 1934

IOI

Answers by Sylvia

[ CONTINUED FROM PAGE 94 ]

forefinger of the right hand work down the
nose from the bridge very lightly, and very,
very gently massage the bump of fat you want
removed. In other words, model your nose
as if it were a piece of clay.

Dear Madame Sylvia:

What can I do for a fat face? It's the worry
of my life. Please help me.

J. K. L., New York City

It seems to me that if you worry enough you
ought to worry some fat off. Xo, I'm just
kidding. But it's a pretty safe bet that if
your face is too fat so is the rest of your body,
and I recommend my reducing diets and ex-
ercises. If the face still persists in being fat,
then do this: With the thumb and forefinger
of both hands, lift up the muscles away from
the jaw-bone. Don't stretch the skin, just
gently lift up the fat as if you were going to
pinch your own face. The muscle is lifted
away from the jaw and there is a ridge of skin
on top. Xow slowly work in a progressive
movement with the thumb and forefinger of
both hands — working from the chin to the
ear, gently pinching the muscles. Don't touch
the bone and leave the ridge of skin alone,
but just pinch — gently — into those muscles.
Do this for ten or fifteen minutes every day.
You've got to go slow at first because your face
will be sore.

Dear Sylvia:

My face is very thin and I want you to tell
me how to fill it out.

V. D., Kansas City, Mo.

Nobody is ever satisfied! Two letters arrive
together. One girl wants a thin face and an-
other wants a fat one. The only way to fill
out your face is to build yourself up all over
by going on my building-up diet. I'll wager if
your face is excessively thin, you're thin all
over. But if this isn't true and you're plenty
plump enough, except that your face is still
thin, don't worry. It's very smart to have a
slender face. Look at Garbo. Look at
Katharine Hepburn. Those girls have gotten
along great with their faces. How's that for
you?

Best news in years

for lovely fingertips . . .
GLAZO now only 25c!

Glazo's new lacquers are richer in lus-
tre .. . so fingertips are lovelier, more
gloriously beautiful, than ever before.
What's more, actual tests show Glazo
wears 50f r0 longer.

And colors? Glazo's six authentic shades
are approved by leading beauty and fash-
ion authorities . . . and the exclusive
Color Chart Package shows just how

Charlie Chaplin and Paulette God-
dard together, as usual, at the open-
ing of "Autumn Crocus" with Francis
Lederer on the Hollywood stage

they'll look on your nails — solves the
whole problem of selecting the exact
shades you want.

Glazo's new metal shaft brush, with
its soft, uniform bristles, assures perfect
application on every nail. And the brush
just can't come loose.

Ever run out of Polish Remover at the
most exasperating moment? Glazo Re-
movernowcomes in an extra-size bottle . . .
enough to last as long as your polish.

If you've been paying two or three
times as much, you'll just appreciate
the new Glazo all the more.

GLAZO LIQUID POLISH. Six authentic shades.
Natural, Shell, Flame, Geranium, Crimson, Man-
darin Red, Colorless. 25c each. In Canada, 30c.

GLAZO POLISH REMOVER. A true cosmetic,
gentle to nail and skin. Removes even deepest polish
completely. Extra-size bottle, 25c. In Canada, 30c.

GLAZO CUTICLE REMOVER. A new liquid cuticle
remover. Extra-size bottle, 25c. In Canada, 30c.

GLAZO TWIN KIT. Contains both Liquid Polish
and extra-size Polish Remover. In Natural, Shell,
Flame, 40c. In Canada, 50c.

THE GLAZO COMPANY, Inc., Dept. GQ-44

191 Hudson Street, New York, N. Y.

(In Canada, address P. O. Box 2320, Montreal)

I enclose 10c for sample kit containing Glazo Liquid

Polish, Polish Remover, and Liquid CuticleRemover.

(Check the shade of Polish preferred) . . .

P Natural D Shell □ Flame D Geranium

102

A LESSON IN
A COMFORT

HOW SMART WOMEN
ESCAPE PERIODIC PAIN

Photoplay Magazine for April, 1934

Screen Memories From Photoplay

15 Years Ago

Ruth takes Midol in time and avoids
the expected menstrual pain entirely.

Midol saves the dayl Even for the
girl whose menstruating periods have
always meant agony. Not a narcotic.

M I D O

Takes Pain
Off the Calendar

TDhotoplay gave space to some
■*- popular writers who belittled
the movies (April, 1919), and
challenged them to show their
superiority with some ideas fit for
screening. Gertrude Atherton
said: "The movies get worse
every day." How 'bout that
now, Gertie?

Already ancient history was
the extravagant era before the in-
dustry was bothered with effi-
ciency— the so-called " Golden
Age of picture-making," when
costly "permanent" settings were
left standing, to crumble in neglect. We pic-
tured some of these wasteful ruins, on the old
Triangle-Ince ranch.

Editorially we commented on imminent war
between producers and exhibitors, for control
of the industry. We also urged the screen to
"discover" the middle class, figuring so largely
in novels, news, and on the stage. There was
too much piffle about millionaires and ab-
jectly poor Cinderellas.

William S
Hart

An article recognized the en-
larged importance of the camera-
man in making motion pictures.
There was a story about how pic-
tures found Charlie Chaplin and,
after finding him, didn't know
'quite what to do with him, until
he asserted himself.

William S. Hart was up for
some keen competition — Texas
Guinan having put across her
idea that there was a place in
movies for a "lady Bill Hart."
We concluded the life story of
Geraldine Farrar, and told inter-
esting facts about Ann Pennington, Wanda
Hawley, Johnny Hines, ZaSu Pitts, Ruth
Roland, and Marjorie Rambeau, among others.
D. W. Griffith's "A Romance of Happy
Valley" and Cecil B. DeMille's " Don't Change
Your Husband" were not such hits as
"Mickey," with Mabel Normand, and "Here
Comes the Bride," a farce with John Barry-
more.

On the cover — Marjorie Rambeau.

10 Years Ago

" TTHE radio is going to put

-*- theaters out of business
again," Photoplay commented
with a grin (April, 1924). Seems
somebody had another new in-
vention for broadcasting motion
pictures from studio to home.
Ho, hum.

Such a phrase as " The greatest
picture ever made" was stale
publicity technique by this time,
and Photoplay was sorry the
Rockett boys couldn't think up
something better for "Abraham
Lincoln," a worth while pro-
duction. "Such a meaningless bromide," we
advised, "will crowd the theater about as fast
as an inscription from old Tut's tomb."

Voluptuous Nita Naldi related "What Men
Have Told Me About Other Women," and the
blonde serial queen, Pearl White, a Parisienne
by now, said "I'll never work in another
picture."

"The Autobiography of Pola Negri" was
concluded. Listing ten men most adored by

Pearl
White

women, in the order of adoration,
Adela Rogers St. Johns found
Wallace Reid's name first, even
after his death. Then came
Rudolph Valentino, Richard
Barthelmess, William S. Hart,
Ramon Novarro, Conway Tearle,
Thomas Meighan, Antonio
Moreno, Douglas Fairbanks,
Reginald Denny.

Cal York's choicest gossip tid-
bit was about Charlie Chaplin
flooring a boisterous oil operator
in a Los Angeles cafe.
The six best pictures of the
month were: "Secrets" (Norma Talmadge,
Eugene O'Brien), Lubitsch's "The Marriage
Circle" (Adolphe Menjou), "The Humming
Bird" (Gloria Swanson), "Thy Name is
Woman" (Barbara La Marr, Ramon Novarro),
"Three Weeks" (AileenPringle, Conrad Nagle),
"The Stranger" (Richard Dix, Betty Comp-
son).

Cover honors went to the lovely Sylvia
Breamer.

5 Years Ago

■"THE aviator had replaced the
*■ cowboy as the hero most be-
loved of juvenile screen au-
diences. A turn of things which
grew out of Lindbergh's epochal
night to Paris, Photoplay ob-
served editorially (April, 1929).
As the magazine went to press,
last minute news included the
death of William Russell.

"How? Talkies Are Made" was
a timely article; people stood in
awe of the mechanical marvels of
the chattering cinema.

Remember them? — "great dis-
j coveries" whose greatness never developed in
Hollywood — Dimples Lido, Eva von Berne,
Mona Martenson, Ruth Taylor, Natalie Barr,
Andre Mattoni, Lya de Putti, Dita Parlo. We
told of their heartbreaks, and of the grand
C uneback of Warner Baxter in the film, " In
Old Arizona."

Cal York whispered that Charlie Chaplin
was "that way" about Georgia Hale, his lead-
ing woman in "The Gold Rush." The Lupe

Lillian
Gish

Velez-Gary Cooper thing was
Hollywood's hot tamale. Jobyna
Ralston said "One Star is
Enough" in one family, and re-
tired to keep husband Dick Arlen
"sane and level-headed."

Lillian Gish was "fighting
alone for her artistic honor," with
Max Reinhardt — her choice for a
co-worker in Hollywood, and
Hollywood not friendly to her
ideas.

We carried an interesting ac-
count of Gary Cooper's family
history.
The six best pictures of the month were:
"The Broadway Melody" (Bessie Love, Anita
Page, Charles King, James Gleason), "The
Pagan" (Ramon Novarro), "Why Be Good?"
(Colleen Moore), "Strong Boy" (Victor
McLaglen), "The Dummy" (Ruth
Chatterton), and "Weary River" (Richard
Barthelmess).

And Clara Bow was a flaming girl .on the

Photoplay Magazine for April, 1934

103

Walt Disney

[ CONTINUED FROM PAGE 92 ]

almost everything. Representing this class, I
had on my list Dr. Walter Beran Wolfe; and
I want you to notice, from here on, the self-
control I show in not making puns.

Dr. Wolfe wrote " How to Be Happy Though
Human" (a good trick if you can do it), but
he comes into this little drama of adventure
as a disciple and translator of Dr. Adler of
Vienna, who, as I have said, gave the infe-
riority complex to the world. And Dr. Adler,
my researches told me, was apparently ready
to take anything Professor Overstreet had
said about fairy tales and double it. So I was
still hopeful. In a world gone mad, I figured
that Dr. Wolfe, as a pal of Dr. Adler, would
be an ace in the hole. So —

"What, doctor," I asked, "do you think of
Mickey Mouse? You don't by any chance
think he is ruining American childhood, do
you?"

"I think Mickey Mouse is a civilizing in-
fluence."

"What!"

"I think Mickey Mouse is a civilizing in-
fluence."

I was groggy, but I could still take it.

"Oh," I said, "you mean you think Mickey
Mouse is a civilizing influence. But listen,
doctor, don't you think that Mickey and the
pigs and the wolf and all that sort of thing give
children a false idea of the world, make them
nervous, give them bad dreams, the idea that
things happen magically, and maybe athlete's
foot?"

I gather that he doesn't. In my daze, I
seemed to hear some remarks about the whole
thing being done so fantastically that even a
child knows enough not to take it seriously.

I bowed out, more in sorrow than in anger.
And now ay tank ay go home and get some
rest.

I don't think I like to do these very active
pieces Next, I want to write something rest
ful, like "The True Love Story of Harpo
Marx."

/?&U<t>K> ywlaJ 'TvtaA ^ue -^e^yuXy off tccZn

Oh, Peter, what big eyes you have!

It's Sam Jaffe, from the Broadway

stage, as the mad Grand Duke in

"Scarlet Empress"

POOR broken-hearted little girl! Men
are like that — they do detest stained,
discolored teeth. But you can do some-
thing about it very quickly.

You can get rid of the stains on your
lovely teeth — the stains that lost your
sweetheart — in just a few days, if you
will use Colgate's Ribbon DentalCream.

What's that you say? . . . You've
brushed your teeth faithfully? . . . Ah
yes, but here is what's wrong. Your
toothpaste had only one cleansing ac-
tion. And no one action can remove all
the seven kinds of stains that food and
drink leave on your teeth . . . stains

All 7 Stains vanish
when you use Colgate's

that form so gradually you're hardly
aware of them.

It takes two cleansing actions to re-
move all stains. And you get them both
in Colgate's. One, an emulsive action,
washes away many of the stains. The
other, a polishing action, polishes away
all the stains that remain.

Why, before you know it, Colgate's
will restore to your teeth their whiteness
and lustre. Make your breath sweet, too.
Bring back your entrancing smile . . .
maybe . . . your sweetheart.

It's really worth trying, isn't it? And
Colgate's at 20£ is the most economical
of all good toothpastes . . . the least ex-
pensive of all beauty-aids.

If you prefer powder, Colgate's Dental
Powder also has the TWO cleansing
actions, sells at the same low price.

104

REDUCE

WAIST AND HIPS

Photoplay Magazine for April, 1934

The Shadow Stage

INCHES

DAYS

it won't cost you one cent/

• This illustration
of thr Perfolantic
Girdle alto features
the UU Perfol.
Uplift Brassii

C TEST. .. the
PERFOLASTIC GIRDLE
. . . at our sxpeostl

REDUCED MY HIPS 9 INCHES,"
writes Miss Jean Healy. ... "I reduced
from 43 inches to 341/2 inches" . . . writes
Mrs. Brian.

• So many of our customers are delighted
with the wonderful results obtained with
this Perforated Rubber Reducing Girdle
that we want you to try it for 10 days at
our expense!

Massage-Like Action Reduces Quickly!

• The Girdle may be worn next to the
body with perfect safety for it is ventilated
to allow the skin to breathe. It works con-
stantly while you walk, work, or sit . . . its
massage-like action gently but persistently
eliminating fat with every move you make.

Don't Wait Any Longer . . . Act Today

• You can prove to yourself quickly and
definitely in 10 days whether or not this
very efficient girdle will reduce your waist
and hips THREE INCHES! You do not
need to risk one penny . . . try it for 10
days ... at no cost!

THE COUPON BRINGS YOU FREE BOOKLET AND
SAMPLE OF THE VENTILATED PERFOLASTIC RUBBER

SEND FOR TEN DAY FREE TRIAL OFFER!

PERFOLASTIC, Inc.

Dept. 914, 41 EAST 42nd ST., New York, N. Y.
Please send me FREE BOOKLET describing
and illustrating the new Perfolastic Reducing
Girdle, also sample of perforated Rubber and
particulars of your 10-DAY FREE TRIAL OFFER.

\Name

Address .
City.

. State.

Use Coupon or Send Name and Address on Penny Post Card

[ CONTINUED FROM PAGE 90 ]

comes the scene of a battle of wits between the
powers for possession of the secret. There are
two murders. It is indeed unfortunate that
Noah Beery, the only member of the cast who
can act, has nothing much to do.

WOMAN UNAFRAID—
Goldsmith Prod.

jT\EFVIXG the perils of gangdom, female de-
-*— "tective Lucille Gleason rounds up a group
of racketeers. "Skeets" Gallagher and Lucille's
charge, Lona Andre, furnish the love interest.
Though action is slow in spots, there's sufficient
suspense to hold interest. The cast, including
Barbara Weeks, Jason Robards, and Warren
Hymer is satisfactory.

THE GHOUL— Gaumont British

"D ORIS KARLOFF, as the eccentric Professor
^Morlant, is not given half the chance he has
had in former productions of this type. The
direction is poor, and patrons who anticipate
chills and suspense will probably snicker at
times when the plot is intended to be weird
and terrifying. The British cast does not help
toward making this film convincing.

SIXTEEN FATHOMS DEEP—
Monogram

CTRIVIXG to bring in a load of sponges for
k—'t he annual auction, so he may marry pretty
Sally O'Neil, Creighton Chaney (son of the late
Eon Chaney) is constantly hampered by the
villainy and trickery of George Rigas who prac-
tically runs the little fishing village, and who
also wants the girl. The sea shots are excel-
lent; the film just so-so.

LUCKY TEXAN— Monogram

TF Westerns have a place on your program,
-^you'll probably enjoy this. Besides the
usual hard riding and rough stuff, there is
murder, intrigue, romance. With handsome
hero John Wayne falling for rancher George
Hayes' granddaughter, Barbara Sheldon. The
courtroom scene, with Hayes dressed as
"Charlie's Aunt," provides many a laugh.

STRAIGHT AW A Y— Columbia

"D SPECIALLY for auto racing enthusiasts, is
-'—'this lively film in which brothers Tim Mc-
Coy and William Bakewell are ace drivers in
the big money races. From Altoona to Provi-
dence, to Elgin, and on to Indianapolis they
go, always beating the smart boys of the track
at their own games of intrigue. Sue Carol, in
love with Tim, turns in a good performance.

J WAS A SPY—Fox-Gaumont British

""PILE real thing in spy stories. During the
•*- World War, while nursing in a German hos-
pital, Belgian Madeleine Carroll becomes a spy
for the Allies. She works with Doctor Herbert
Marshall, a confederate, without arousing the
suspicions of German officer Conrad Veidt,
who is infatuated with her, until much of their
secret work is done. The three principals, as
well as the supporting players, are well cast.

MURDER ON THE CAMPUS—

Chesterfield

A COLLEGE setting provides the back-
■**■ ground for a trio of murders, the first of
which occurs atop the campanile. Spurred on
by his love for one of the suspects (Shirley
Grey), police reporter Charles Starrett un-
covers the real culprit. No great suspense,
and you'll find the plot one that's well worn.
Ruth Hall and J. Farrell MacDonald.

NEW

IVOO^

HEN you visit New York
enjoy the comforts of an ideal
home and still be in the heart of
the Motion Picture Art Centre.

Parlor with Bedroom and Bath
$C00 PER DAy FOR

3 — ONE OR TWO
$125.00 per month

Largest Slnele
Boom la S3 KQ
New York J,'w

FEB DAT

(or this Beautiful 2-Room Suite.
3-Room Suites in proportion.

All rooms equipped with combi-
nation tub and shower bath and
running ice water. Ideal loca-
tion— adjacent to shopping, busi-
ness and theatre districts.

Swimming Pool and Gymnasium
FREE to Guests.

Write for details. Telegraph reservations
(Collect)

ENJOY NEW YORK'S

COCOANUT GROVE

AND TIC TOC CLUB

56th St. at 7th Ave.
New York City

Photoplay Magazine for April, 1934

The Fan Club
Corner

OFFICERS of the fan club belonging to
the Photoplay Association of Movie
Fan Clubs report that the memberships
of their clubs are growing larger every month.
Is there a fan club in your town? Does the
fan club sponsoring your favorite star have a
chapter in your city? If not, and you want
information about starting a club or about
joining the chapter of some already established
club, simply write to the Photoplay Associa-
tion of Movie Fan Clubs, 919 North Michigan
Ave., Chicago, 111.

Members of the Movie Club Guild, an
organization formed by seven Chicago movie
fan clubs, write of many thrilling activi-
ties during recent weeks. One of the out-
standing events was the Penny Social held at
the Sherman Hotel.

Members of the Tom Brown Club surprised
Tom by sending him an attractive, especially-
made greeting card for his birthday recently.
Ruth Fiffer, 905 X. Waller Ave., Chicago,
writes that the Clark Gable Club, of which she
was president, has been changed to the Agnes
Ayres Fan Club. Fans interested in joining
the new Ayres Club will receive a copy of the
club's journal, "Stardust," by writing Miss
Fiffer.

The Bing Crosby Club, now in its third year,
is conducting a new membership drive, the
prizes to be given by Bing. Bing's fans may
find out about membership in the club by
writing to Fay E. Zinn, 109 Orchard Road,
Maplewood, X. J.

The Barbara Stanwyck Buddies are now
issuing a club journal. Another interesting
announcement from this club is that an
Eastern Chapter of the Buddies has been
formed. All eastern fans who are interested in
joining the club sponsoring Miss Stanwyck are
invited to write Dorothy Ulrich, 1310 X. 15th
St., Harrisburg, Penna. The club president is
Bonnie Bergstrom, 6805 S. Artesian Ave.,
Chicago.

Hans Faxdahl, president of the Xorma
Shearer Club, 1947 Broadway, Xew York,
writes that his club is giving a nice photograph
with each issue of the club paper.

Carl Lefler, president of the Dorothy Jordan
Fan Club, 819 West Center St., Decatur, 111.,
wants all of Miss Jordan's fans to write to
him.

The Bodil Rosing Fan Club is growing, re-
ports Millie Wist, 177 S. Citrus Ave., Los
Angeles, Calif. Those interested in Miss
Rosing's club are invited to write Miss Wist.
Florence Seafidi, 92 Borden Ave., Xorwich,
X. Y., is secretary of the Buddy Rogers Club,
and wants Buddy's fans to communicate with
her.

The Official Joan Crawford Fan Club, 976
Fox St., Bronx, Xew York, received a letter
from Miss Crawford stating she would donate
prizes to the winners of the contests held in
"The Crawford Chatter." Miss Crawford has
made it a point to contribute prizes to winners
of these contests.

Star News from
London

[ CONTINUED FROM PAGE 73 ]

Having pinned the " U. S. A." label on
Lynn Fontanne (the London-born actress
now playing to capacity business here in "Re-
union in Vienna"), the newspapers have pulled
another boner in the case of Ethel Barrymore
— referring to her being "back in her native
England"! Such a ridiculous fa ux pas makes

I05

TRY THESE

Hollywood Hair Styles

But donU let wispy DRY hair or
stringy OILY hair spoil the effect

One Hollywood star famous for her "allure"
wears a long soft bang. The curls over her
ears and at the neck-line are fluffed well for-
ward. A good style for the new " off the face"
baby bonnets — but wispy, dry, harsh hair
would ruin the effect. Packer's Olive Oil
Shampoo treatment (given below) helps to
correct over-dry hair.

Help for DRY hair:

Don't put up with dry, lifeless,
burnt-out looking hair. And don't
— oh, don't — use a soap or shampoo
on your hair which is harsh and
drying. Packer's Olive Oil Shampoo
is made especially for dry hair. It is
a gentle "emollient" shampoo made
of pure olive oil. In addition, it
contains soothing, softening glyc-
erine which helps to make your
hair silkier and more manageable.
No harmful harshness in Packer
Shampoos. Both are made by the
Packer Company, makers of
Packer's Tar Soap. Get Packer's
Olive Oil Shampoo today and begin
to make each cleansing a scien-
tific home treatment for
your hair.

PACKER'S

OLIVE OIL SHAMPOO
for DRY hair

Expressive of her vivacious personality is the
radiant, up-tossed mass of loose curls worn by
one queen of the silver screen. A piquant
fashion — and becoming — but impossible to
achieve with oily, stringy hair. To help correct
over-oily hair, use the Packer's Pine Tar
Shampoo treatment below.

To correct OILY hair:

It's quick, easy and can be used
with absolute safety to your hair.
Use Packer's Pine Tar Shampoo
every four or five days at first if
necessary, until your hair begins to
show a natural softness and fluffi-
ness. Begin this evening with
Packer's Pine Tar Shampoo to get
your hair in lovely condition. Its
makers have been specialists in
the care of the hair for
over 60 years.

PACKERS

PINE TAR SHAMPOO

for OILY hair

io6

Photoplay Magazine for April, 1934

IT'S WASHING DISHES with harsh soaps con-
taining harmful alkali that roughens and ages
hands! Lux has no harmful alkali. Its gorgeous
bubbly suds leavehands youthfully soft and smooth,
get dishes clean in no time. Costs less than \<t a day!

_ prevents humiliating D I S H PAN hands

CELEBRITIES

CHOOSE

ne SENECA

n hile in Chicago . . .

because at the SENECA they
are assured of those little ex-
tras in service .... luxuri-
ous yet comfortable quarters
and good food.

During your next visit to
Chicago we invite you to see
why people who know choose
THE SENECA. 10 minutes to
the heart of Chicago. Perma-
nent .... Transient.

200 EAST CHESTNUT ST.
CHICAGO, ILLINOIS

LOS ANGELES

71-

TOWN
HOUSE

INVITES INQUIRIES FROM
THOSE PLANNING ATRIP
TO SOUTHERN CALIFORNIA

WERNER HARTMAN. MANAGER

THE SMART HOTEL OF
SOUTHERN CALIFORNIA

one wonder why publishers trouble to bring
out a Who's Who in the Theater!

At any rate, the head of the greatest of
American acting hierarchies is here — to play-
in a music hail! And this, be it known,
amazes our best people. Many of our own
genteel actors and actresses would "never
dream, my dear," of walking where slapstick
comics so recently have trod.

V/f LSS BARRYMORE is giving the Palla-
■'■'■'-dium patrons Barrie's "The Twelve
Pound Look," which served her as a starring
vehicle in New York in 1911.

You may be amused to know that when a
gossip writer asked her if she would consider
appearing in a British film the Barrymore
reply, voiced icily, was this:

"Hollywood — and 'Rasputin'— cured me of
all desire to have anything whatever to do
with motion pictures."

So, Elstree, take that!

Dolores Extols
Passive Love

[ CONTINUED FROM PACE 39 ]

"In my country, love does not come so
quickly. It is inspired by starlight and flowers
and gentle music. When the young man comes
to call on a senorita in Mexico," Dolores ex-
plained, "he brings his guitar. He stands in
the patio at first, playing tender melodies until
he knows she is willing to respond.

"He waits for her to come to the grilled
window and look down at him. Then he kisses
a white rose and throws it to her. After that,
he might dare to hope for a further interest, if
she kisses the flower and tosses it back to
him."

Old Mexico, with its star-strewn skies and
brooding mountains, its age-touched haciendas
and orchid-grown jungles, is a perfect setting
for such languorous romance as Dolores was
describing. There is something about its
fragile orchids, clinging in great masses to the
sturdy trunks of tropical palms, remindful of
the spirit of its dark-eyed Latin maidens who
wait so patiently for the strong, protective
lover.

DOLORES DEL RIO is like this. She is rest-
ful,passive, gentle in every look and gesture.
Yet behind her glowing black eyes there is the
restless spirit of her grandfather, Senor Fran-
cisco Asunsolo.

He is remembered in Mexico as a fearless
conquistador- a gallant spirit who gave up the
luxury and cultured living of northern Spain
to set out in a ship for parts unknown.

Senor Asunsolo found Mexico a place of rare
beauty. And with his little group of adven-
turers, set up a crude hacienda high on the
plateau near Mexico City.

They became rancheros. And from that
bountiful soil they extracted enough fruit and
oil and gold to live in a luxurious manner.

It was into this atmosphere of quiet refine-
ment Dolores Asunsolo was born. Later, she
became Senora Del Rio, when she married.

The tragic ending of this first encounter with
life, after Dolores had set out on her grand
adventure to find fame and fortune in Holly-
wood, is well known. Senor Del Rio died
suddenly in Berlin, after rumors of a marital
rift had been gossiped about for months.

"You are bound to undergo dreadful un-
happiness when you encounter life outside
those sheltered walls," Dolores said, a little
sadly.

"It can't be avoided. Girls out in the world
live so much before they find the fine emotional
balance which tradition and the conventions
have already developed in sheltered women."

Anyone who saw Dolores Del Rio in "Fly-
ing Down to Rio" will recall the patio scene

Photoplay Magazine for April, 1934

107

where she sat with a number of American
society girls and flirted so dexterously with
Gene Raymond. Remember that scene?

The American girls were very frank in their
gestures of admiration for the handsome
orchestra leader, but Del Rio was fascinating.
She coquetted with lowered eyes, then she
peeped at him through the lattice of her
fingers.

No wonder Gene Raymond left his band flat
and dared the wrath of Dolores' chaperon for
a word with the charming senorila.

"Flirting is a fine art with Mexican girls,"
Dolores said. "They are never alone with
men, so they must find secret little ways of
letting a man know they are interested in him.

"It is like this," the dark-eyed beauty went
on. "Latin women know that for centuries
men have wanted to do the courting. They
desire to protect women; it is their high
privilege.

" TTHE American girl has her freedom, true.

*■ But I think she cheats herself of so much
of the chivalry which men in my country dis-
play. And that is too bad, no?"

Cedric Gibbons, who is Dolores' husband,
seems to be her idea! combination of the gentle
solicitude of the Latin and the go-getter prac-
ticability of the Americano.

For Gibbons is a society man as well as an
art director at the studio. And he has been
trained since boyhood to the niceties of a
chivalrous attitude toward women. That,
says Dolores, is the reason she fell in love with
him.

"Cedric is perfect," she asserted, and her
eyes lighted up like burning candles.

"First, he is American, with that dash most
American men seem to possess. And he is
understanding and sympathetic. He has never
been to Mexico and does not know my people
— but he is an artist, and in his artist's ap-
preciation he has been endowed with the
sensitivity of the Latin. A perfect husband,
no?"

A perfect husband, yes.

And why not? Considering the perfection
of Del Rio herself.

Hollywood Snubs
Paris

[ CONTINUED FROM PAGE 79 1

with a leading modiste shop, where he had
opportunity to outfit many prominent actresses
of the stage. This awakened his interest in
theatrical costuming, and he worked with
Florenz Ziegfeld on the gorgeous "Follies" for
a while.

Nine years ago, Walter Wanger asked Ban-
ton to go to Hollywood and put his ideas into
a picture called " The Dressmaker from Paris."
Banton intended to stay on the Coast six
weeks. He has been there ever since, except
for his trips in search of inspiration. Eight of
these took him to Paris — but Paris, last year,
he says, was too "shabby" for him to want to
go back soon.

"D AXTON was born in Waco, Texas — Tex
-'-'Guinan's old home town — thirty-eight years
ago. When he was five, his family brought
him to New York. His academic schooling
ended when he "flunked out" of Columbia
University.

Then he entered the Art Students' League,
and eventually turned to dress design.

He isn't the traditional type of designer —
no monocle, French mustachios, elaborate
gestures and cream-puff language. He looks
like a good many men who attend Chamber
of Commerce meetings.

But Banton is, today, one of the few men
who exert any large influence on women's
styles of the world.

The FOOT SIZE has a Number
The LEG SIZE has a NAME...

Don't buy stockings just to Jit your foot.
It's even more important to fit your leg!

A fter all, you're more interested in
±\_ flattering your leg than you are in
flattering your foot, belle-sharmeer
stockings do both to perfection!
Whether you're small, tall, medium
or plump . . .there is a personal pro-
portion "made-to-measure" for you
... in width and length as well as foot
size. No more slipping heels, wrinkled
ankles, strained -up or doubled -over
tops. Buy belle-sharmeer stockings
at one fine store in each community.

May we send you FREE booklet on
belle-sharmeer stockings? Address If ayne
Knitting Mills, Dcpt. F. Fort Wayne, Ind.

Member NR A

e-snarmeer

S T O C K I

designed for the

N G S

individual

All three wear size 9%. Three women,

small, medium and tall, often take the same
foot size stocking. But they should have
different leg sizes, both in width and length.
Do not misunderstand, belle-sharmeer
does not offer one stocking that stretches to
fit all legs, belle-sharmeer stockings come in
all leg sizes, as well as foot sizes from 8 to 1 1 .

io8

Photoplay Magazine for April, 1934

HOW CLARA

CLEARED UP

HER RED EYES

CHEER. UP, CLARA

LET'S GO TO
PEGGY'S PARTY!

I CANT.GIRLS.
MY BYES ARE A
PERFECT SIGHT

FROM CRYING!

3Q MINUTES LATER/

f^JUST LOOK AT
CLARA NOW!
ITS LUCKY FOR. HER.
I KNEW HOW QUICKLY
MURINE CLEARS UP
BLOODSHOT EYES.

\ YOUR EYES ARE
GORGEOUS, I
CLARA! .

When eyes become bloodshot from crying,
late hours or exposure to sun, wind and dust,
apply a few drops of Murine. It quickly
clears up the unsightly redness— leaves eyes
looking and feeling just fine! Good House-
keeping Bureau approves Murine, so you
know it's safe to use. And — it costs less
than a penny an application!

For Your

EARN FREEST

\RK

no MONEY

Matthews' 1934 Spring Frocks, Llngerieand
Longerlife Hosiery — preferred by thousands
everywhere— offer a real opportunity for many
Women Representatives. Our new represen-
tative's plan requires no canvassing — no capi-
tal— no experience. We provide complete style
equipment Free with easy instructions. Full or
part time workers who act promptly
MH^h^ get special bonus plan for free
I iTn^ dresses, lingerie or hose. Act
j J ^1^^ now. Address 521 Jackson
I II d 2^k Hid--. Indianapolis, Ind.

UUUJI m \r rin.ws mfg. co.

v^V&

His Third Time On Top

[ CONTINUED FROM PAGE 62

in a daze, wondering just what put the skids
under them. For reasons which they can't
figure out, a new foothold is denied them.
And I speak of men who are not victims of
their own misconduct."

Ruggles says his own first toboggan ride was
brought about largely by the death of Wallace
Reid, whom he was signed to direct in "Mr.
Billings Spends His Dime" for Famous Players-
Lasky. Reid died in January, 1923.

"Finally, it was decided to give the leading
role to Walter Hiers, and it was rewritten in
just three days. Can you imagine what
happened to a part intended for the handsome
Reid, then hurriedly altered for the chubby
Hiers — good comedian though he was?

"After I went through with 'Mr. Billings,'
the studio heads told me they had no more
stories for me to direct. I knew they had.
They preferred to settle. I wanted to make
'Big Brother,' and told them if they'd let me
direct that one picture, then they could tear
up my contract if they so desired. But they
wouldn't, so I just sat pretty and drew my pay.

"My attitude helped to put me in bad gen-
erally, I suppose. For the next year, there was
so little demand for my services I thought I
had no future. Yet I had been considered a
good money director before that 'Mr. Billings'
experience."

Both times Ruggles has been "down," as-
signments to direct a series of short comedies
have figured in his resurrection. He began his
film career as a Keystone cop, learned the
A-B-C's of laugh-making under Mack Sennett,
and directed Charlie Chaplin for the Essanay
Company, so he knows what comedy is all
about.

Comedy, in fact, runs in the Ruggles blood.
There are few more droll fellows than Brother
Charles.

Several days before Christmas, 1924, F.B.O.
played Santa Claus and signed Ruggles to
direct "The Pacemakers," a series of two-
reelers written by H. C. Witwer.

"Then B. P. Schulberg had the rights to a
novel he wanted to produce, but the Hays
office disagreed on its treatment. I told Schul-
berg I could put the story on the screen for
him, and he said it was a go. The story was
'The Plastic Age,' and it made Clara Bow a
star."

But Ruggles was to enjoy this comeback
only a few months.

"First National wired me to come to New
York and direct 'The Wilderness Woman,'
with Aileen Pringle. Two weeks after I started
that job, I was dismissed and told my comedy
was no good — after the many comedies I had
directed! As a result of that setback I couldn't
even get an interview with a major producer.

"But Sam Zeiler had George Walsh signed
to act in five quickies. He advanced me
twenty-five thousand dollars to make them.
Anything I saved out of this staggering sum
was mine. If I spent more, the loss was on my
head.

" I rented an old studio over in Fort Lee,
New Jersey, wrote 'The Kick-Off and pro-
duced it. I actually came out ahead on that
one, and, incidentally, discovered Leila Hyams.
The second attempt, however, was disastrous.
Rain held up the out-of-door shots. I lost
more than I made on the first one and got out
of the deal."

Things were black, indeed, for Ruggles, when
along came more comedies.

Universal entrusted him with the direction
of "The Collegians," also two-reelers, and
liked his work on these well enough to hand
him Laura La Plante to direct in feature length
comedies. He turned out "Silk Stockings,"
and from that day to this his services have
been at a premium.

Some of his other pictures were "Con-
demned," with Ronald Colman; "Street Girl,"
with Betty Compson, the first talkie produced
by RKO-Radio and a money maker; "Honey,"
with Nancy Carroll, and "I'm No Angel,"
with Mae West.

ZIP EPILATOR-IT'S OFF because IT'S OUT
PERMANENTLY DESTROYS HAIR

Arline Judge pleaded on the left of him, Sharon Lynne on the right— for

what, we know not. But Ernst Lubitsch just smoked that big, black cigar,

at Emanuel Cohen's party for Mr. and Mrs. Gary Cooper

Photoplay Magazine for April, 1934

I Had to Leave
John Gilbert"

[ CONTINUED FROM PAGE 35 ]

strange ways has romance ! They were married
in 1929, started divorce proceedings in 1931.
Ina was very gracious about it all, with pro-
fessions of lasting friendship.

On August 6, 1932, an hour after the final
decree of divorce from Miss Claire was issued,
Gilbert filed notice of intention to wed Virginia
Bruce. But Hollywood had learned about
Virginia's engagement several months earlier,
the day she started to work with John in
"Downstairs," at M-G-M. This was a story
Jack, himself, wrote.

■\4TSS BRUCE entered the Gilbert nuptial
■*• '-^history with an added handicap. Up to
that time, he had not fared well in talkies. The
critical spanking he began to receive with the
appearance of his first talkie, "His Glorious
Night," was stinging, incessantly irritating.

Gilbert was more sensitive then he had ever
been before. And he had been sensitive
aplenty, as Mae Murray can tell you.

Miss Murray, who was the widow in "The
Merry Widow," believes she is one woman
who sees Gilbert in his true light.

Mae, unlike Jack's four wives, has never
been in love with him. She simply became
convinced of his ability as an artist.

"Jack is an odd form of artistic integrity,"
Mae Murray said, after hearing about his
latest trouble with Virginia Bruce.

"He's always been baffled and thwarted by
inhibitions which he senses but cannot com-
bat."

"Meaning what?" I asked.

"Meaning that Jack is terribly sensitive.
He is easily hurt. But instead of lashing back
like most of us do when we are hurt, he goes
in for bravado — some gesture which is merely
an emotional outlet. That's why his troubles
are always headlined, I think. It's the reason
he seems to be in difficulties constantly.

"Really, he isn't — not any more so than
most of us. But Jack has a habit of running
out — wanting to get away from inharmonious
situations and surroundings.

"Once, during the filming of 'The Merry
Widow,' I recall that Director Von Stroheim
yelled at Jack. It wasn't just an ordinary call
down, either — a little unnecessary, I think.

"Jack suddenly disappeared from the set.
Very quietly. And for hours we searched for
him. And where do you suppose he was dis-
covered? Upstairs in his dressing-room — in
the clothes closet, sitting in a melancholy
huddle on the floor.

"And another time, when everything seemed
to go wrong, when after many petty arguments
over the famous waltz routine we did in the
picture, John Gilbert disappeared again. I
didn't blame him.

"One of the stage carpenters yelled that
Gilbert had ducked out a side door and was
running down Washington Boulevard.

"I was in my costume. But I rushed out
of the place, ran breathlessly down the street
yelling for Jack to come back. He had thrown
his bath-robe over his Prince's costume and
was on his way — to China — when he was
caught and talked into coming back."

"CVEN now, after his newest temperamental
■^-'smash-up, Gilbert has gone quietly into
seclusion. He has nothing to say. He'd
rather say nothing, and let the world think
what it will, than to get into the strain of a
controversy.

But if John Gilbert became wrought up over
his part in "The Merry Widow," which was
his first golden opportunity to reach the
heights of stardom, his nerves went all to
pieces while filming "Queen Christina."

That, after all, was the bigger moment : He

FASHION SAYS.-

accent the eyes and mouth

• Do you dare follow the new
fashion in faces? To rouge cheeks so
sparingly, yet frankly redden your
lips? To have invisible powder, yet
accent your eyes by a subtle shadow?

Of course! It's so smart. It makes
your face so expressive by accenting
your interesting features.

But oh! how well you must do it.
And the best way, the sure way. . .
as Dorothy Gray has proved in her
Salons... is to be guided by yout skin-
tone. Not your hair, or your eyes, or
your clothes. Let your make-up be
your own natural coloring intensified.

And it's so simple. For Dorothy
Gray has grouped her make-up prep-
arations according to skin-tones.
Now you can give yourself this sim-
plified "1-2-3 Salon Make-up." Here
are the things you need:

1. Dorothy Gray Make-up Foundation
Cream, to make cosmetics go on
smoothly. White, Natural, Rachel, $1.

2. Dorothy Gray Rouge and Lipstick.. .
matched in color. . .matched in name.
The famous Cream Rouge made on
a finishing cream base that blends so
beautifully, $2. Lipsticks in clear,
true colors, non-fading, indelible, on
an emollient base, $1. Rouge and
lipstick colors: Tawny, Sunset, Fla-
mingo, Scarlet, Blush, Avis, Bright Rose,
D'Espagne. Dorothy Gray Eye-shadow
...in sophisticated shades, $1.50.

3. Dorothy Gray Salon Face Poivder, in
exact skin-tone shades. Cream, Natu-
ral, Rachel, Aureate, "Tawny Rachel,
Sun tone, Evening, $3, $1.

NEW! Free leaflet, "How to Use the New
Alake-Up," with Complexion Analysis
and Make-up Chart. Send for your copy.
Dorothy Gray, 683 Fifth Ave., New York.

We hare complied with the requirements of the NRA
SALONS IN NEW YORK • WASHINGTON ■ CHICAGO ■ LOS ANGELES ■ PARIS • BRUSSELS • AMSTERDAM

I IO

Photoplay Magazine for April, 1934

would either come back or drop forever into
oblivion.

It is said among his friends that the filming
of this picture precipitated the marriage rift.
He thought he might fall down on the studio
job. He worried over it. He brought these
studio worries home to his young wife, who
tried to understand the seriousness with which
he regarded this new chance.

Surely, that was nothing to bring joy into

"When a man takes three years
to pop the question, it's time for ac-
tion . . . and action is one thing at
which I'm an expert. I find that once
a member of the male sex gets a
whiff of that scent Gabilla blended
for me — he begins to forget his ten
reasons for remaining a bachelor."

Now you, too, can use PARFUM

MAE WEST by Gabilla of Paris. You

can enjoy that strange fascination

which is Mae West's. PARFUM MAE

WEST is loaded with lure. . .dripping

with sex appeal. A few drops behind

your ears — and it's all over but the

wedding march!

PARFUM MAE
WEST is now avail-
able at your favorite
drug or department
store — priced from
65c toS25per bottle.
Better not lose any
time. Some one else
might start working
on him with PAR-
FUM MAE WEST.

If your favorite score
cannot supply you, or-
der from us direct, using
the convenient coupon
and enclosing 65c in
stamps for 1 dram size —
$1.00 for Vt oz. size.

As a special introdnc-

"c&>-, '"'J °ffer we are send-

-'roi^s ing you six intimate

(jfrjj^ly./ photographs of Mae

West with your order.

PARFUMS WESMAY, Inc.
19 West 18th Street, N.Y.C.

Enclosed find ( )65c. < )1.00

Name

Address

City State

NOTE: This is not merely an endorsement
— this is the personal perfume of Mae West.

the life of a young wife who wanted parties
and fun! But does this pathetic experience
mean that John Gilbert will be "fed up" on
women — that if the beautiful girl-wife divorces
him, as she says she will — that she will be the
last woman to figure largely in his life?

One doubts it.

Women have always loved Gilbert.

There's something about him women adore.
Probably they always will!

Spring! 'Tis Forgiving Time in Hollywood

1 CONTINUED FROM PAGE JJ

"Anyway, I found out afterward it wasn't
the Holland Tunnel at all. It was just a bill-
board picture of Joe E. Brown with his mouth
open. But I'm not really mad at Joe anymore.
If he'll just hang a red lantern in the opening
after this, I'll never make that mistake again.
So please tell Joe E. he's forgiven."

You're forgiven, Joe E. Happy?

T5ILL POWELL forgives Adolphe Menjoufor
■'-'choosing himself the best-dressed man in
Hollywood. "I forgive him," big-hearted Bill
smiles, "and not only that, I nominate him
the best gum chewer, bar none, in Hollywood.
'It don't mean a thing if it ain't got that swing,'
and Dolphie has that swing. (You should have
seen the downcast look on Will Rogers' face
when he heard that.) Now, Adolphe chews
well with everything," Powell concedes. "He's
marvelous with a lounging suit. But you
should really see Adolphe's technique with a
tuxedo. There's rhythm for you."

Curly, stooge number two, forgives Ted
Healy for that awful accident. Ted, fond of
playing with Tillie, the M-G-M lion, prevailed
upon Curly to accompany him into Tillie's
cage. And then, in his hurry to get back to
the set, he forgot Curly. And locked him in
with Tillie. Just from Tuesday morning till
Wednesday evening.

"I was just raising my tea-cup, with my
little finger well out, of course," said Ted,
"when I happened to think of Tillie. And,
thinking of Tillie, I naturally thought of
Curly. Strangely enough, Curly, at that very
moment was thinking of me."

But, mind you, it wasn't until the pretty
dandelions peeped their innocent little faces
through the grass around Tillie's cage that
Curly could bring himself to forgive. Ah,
spring. What wonders are performed in thy
sweet name.

Why, Jean Harlow actually forgives Joan
Crawford for refusing to work on that set with
Harlow's picture on the wall. It was a night
club scene, when the face on the barroom wall
startled Joan out of that Franchot calm. But
now it's over. And Jean has forgiven. Like
Brutus forgave Caesar.

Even li'l Lee Tracy — bless his heart — steps
up in the budding business of springtime and
forgives. Everybody. Mexico, that balcony,
and a fellow named Romeo who got away with
more monkey business on a balcony than Lee
ever dreamed of.

Why, our own Garbo, ours and Sweden's,
forgives those Arizona custom officers who in-
sist upon prying into people's cars for boll-
weevils and such. When she was scurrying
gaily from one state to another, they insisted

No, he isn't watching for the enemy. He's looking for his horse. It's

Walter Huston, as the hero soldier, in "Keep 'em Rolling," an army

story about a friendship between a private and his mount

Photoplay Magazine for April, 1934

1 I I

upon prying into Greta's car. They found no
boll-weevil. It was only Mamoulian. And
there's no law against Mamoulian. "So I for-
giff," Garbo says.

Gary Cooper, too, joins our little band of
"forgive and forgetters." Big, outdoor Gary
with the indoor complex. Does he know the
meaning of spring, with the little calves frisking
and the little cows mooing? I mean, Gary
loves the springtime, and vvants the world to
know he forgives his mama and his papa and
her mama and her papa for joining them on
that honeymoon. "It was probably all for
the best," he smiles. "You know what the
prophets say: 'A rolling stone gathers no
moss!' 'Take care of the pennies and the
dollars will take care of themselves.' 'Easy
come, easy go.' "

All of which shows that Hollywood, once
touched (touched, nothing. It's been pawed
half to death) by the virgin kiss of spring
(where's De Mille these days?), can be as big-
hearted and all-forgiving as the next one.

Yes, Hollywood forgives.

But can you forgive Hollywood?

The City of
Forgotten Nobles

[ CONTINUED FROM PAGE 76 ]

shocked, blond Hans came to California after
the war to try to regain his health. With little
money, he tried to find work in pictures.
Charlie Chaplin gave him one bit in a comedy.
After years of discouragement, Hans returned
to Germany.

How he got the money for the ocean pas-
sage, I don't know. But in Germany today, I
understand, he is a high official in Hitler's
government.

What goes on in their souls, what agonies
and wistful longings for the old days, these
brave people keep to themselves! It is part
of their noblemen's code to suffer in grim
silence.

I have known only one man to talk. What
he said, I think, will best hint to you what goes
on in the minds of all of them. He was
Dobrinn, formerly the doorman at the Russian
Eagle. (Theodor Lodijenski, the manager
there, was a general in the Imperial Russian
Army. The chef, George Stronin, slaving over
his stove in white cap and apron, is believed
to be a royal personage who, like Natalie
Bucknall, will not tell his Russian title.)
Dobrinn — the doorman — was a colonel of the
Imperial Cossacks.

His eyes sombre, brooding, and far away,
Dobrinn said:

'" T AM through with life. All I ask is peace
■*■ and enough to eat. My education fitted me
to be either a gentleman or a servant — nothing
in between. Once I was a gentleman. Now
I am a servant. No oppression of the czar did
this to us. This is one of the things planned
by the Universe for a million years. When
the Universe is through with people it gets
rid of them. It has gotten rid of us. I am a
dead man — but I will go on living for a while.
All I ask is for the world to forget me and pass
me by. I am thankful enough that I have a
job."

To have the world in which you belong die
and leave you dead, too! Dead while still
alive! Like ghosts these fine men and beauti-
ful women of the old regime drift across the
world. They stay in Hollywood for a while,
and then, like ghosts, are gone — to go on
wandering in a world that has no more use
for them.

Just to show you — when I walked down Vine
Street again, a few days later, Dobrinn was no
longer standing at the door of the restaurant
in his high boots and lambs' wool shako.
He was gone.

went U YEARS OLD

YEARS YOUNG !

VASSARETTE Foundations are made for young figures . . . and to
make figures young. They have an effective way of making mothers
look like their daughters' sisters.

Whether your curves are merely a subtle suggestion or a solid
fact, you'll like yourself much better in a Vassarette. Either a hip-
slimming girdle or a supple, compact all-in-one . . . free but firm . . .
gentle but very persuasive. Wear them constantly. Wash them easily.

Only Vassar can make Vassarettes. Always look for the name. In
corset departments, $5 to $15. Write for the name of a good store
near you where Vassarettes are sold. The Vassar Company, 2513
Diversey Avenue, Chicago.

LEFT:y4 new Vassarette Girdle.. short,
light andsturdy. The slip-over Bandeau
can be adjusted for uplift as desired.

Right: The Vassarette Formal Foun-
dation . . perfect for backless evening
gowns but practical for daily duty.

VASSARETTE

FOUNDATION GARMENTS

I 12

Photoplay Magazine for April, 1934

Overlooking
Central Park

RECOGNIZED LEADER
FROM COAST TO COAST

SAVOY- PLAZA ... a name that is
synonymous with luxurious living
...majestic and impressive with
the 840 acres of Central Park at
its doors ... a setting one hardly
hopes for in the towering city of
stone and steel. To the travelled
person, it is vivic ly evident that
here, truly, is one of the world's
most distinguished hotels.

CELEBRITIES CHOOSE
THE SAVOY-PLAZA

From Hollywood come celebrities
of the motion picture world to
New York and the Savoy- Plaza.
This outstanding hotel has acted
as host to many of the best known
producers, executives and stars.

SINGLE ROOMS FROM $5

Henry A. Rost, Managing Director
John F. Sanderson, Manager

FIFTH AVENUE

58th to 59th STREETS, NEW YORK

Jean Battles a Sea of Rumors

CONTINUED FROM PAGE 32

I send out from eight to ten thousand photo-
graphs and letters a month. This requires the
services of two secretaries. I have to have a
personal maid and hairdresser. Because my
hair has been so much publicized, it takes con-
stant care. When I am traveling, and while I
am in the East, it is shampooed every other
day. And I do not travel without my fa'ther
and mother. Wherever I go, they go with me.
All this is expensive.

"Also, essentials, such as insurance, have
much higher rates for picture people.

" So far as downright luxuries are concerned,
I am not extravagant. I am driving a three-
year-old car. If my home can be considered a
luxury, then it is my only one.

" But I had a lovely home before I came into
pictures," Jean smiled. And you knew if she
were not in pictures, she would still have a
lovely home.

It is a delightful place, this big Colonial home
on the top of a hill. A home that fits Jean — a
suitable background for an exquisite and
fastidious girl.

It must be very difficult to be a man and in-
terview Jean Harlow. And keep your mind on
your work. Because any man worthy of his
sex must be urgently aware in all senses of that
luscious beauty.

T 7ERY definitely Jean ranks with the great
* beauties of all time. This was my first in-
terview with her, and the physical perfection of
the girl struck me almost with a staggering im-
pact.

She is so infinitely more beautiful than she
photographs. The quality of her skin is some-
thing to amaze complexion experts.

The first sight of Jean gives a woman a firm
new set of resolutions to start that diet right
away and run around the block ever}- morning.
You become acutely conscious of all three chins
and the four spare tires around the middle.
How must the mere men feel?

Then she begins talking — and you forget her
physical allure, if you are a woman. Because
the girl has a distinct flair for conversation.

There are a lot of famous beauties around
Hollywood that get over big with the men.
Most of the girls are discreetly silent when
these charmers' names are mentioned. Some
less discreet speak right out in meeting and say
what they think.

But it's a funny thing about Jean. I've
never heard another girl say a mean thing
about her. You see, they like her, in spite of
her overwhelming loveliness. I don't know of
any higher compliment one girl can pay
another. Especially in Hollywood.

T\ THEN Jean says, "I am doing what I
w think is right in going back to work at the
studio," I believe her.

"It is regrettable," she continues, "that
these stories of a 'fight' were circulated. There
was a straightforward business discussion
about money. Any business man or woman
will appreciate the situation.

"Then, after considerable thought on the
subject, I was convinced that it would be
establishing a wrong precedent. If all the
actors in Hollywood thought they could simply
walk out of the studio and demand more money
before they would return, it would upset a lot
of apple-carts. After all, there is such a thing
as a contract!"

Aside from Jean's "walk-out" and all the
stories about it, many other rumors have been
circulated.

So many concerning her supposed separation
from Harold Rosson, even an impending
"blessed event," that Jean thinks it is high
time to give some first-hand information on
these subjects.

She tells me she has appeared in a certain
nationally known chatterer's column some
twelve or fifteen times recently — and she in-
sists that not on one occasion were the state-
ments correct!

But she doesn't hold it against the colum-
nist. Xot for a minute. She says, very gen-
erously, "How could he call me up long-
distance and verify it every time?"

She says she simply puts it down as another

May Robson is proud to show visitors her wall of fame in her California

home. They're all pictures of friends. Recognize Chaplin? On the right,

Harold Bell Wright, author. You guess the rest

Photoplay Magazine for April, 1934

I I

of the penalties, along with the advantages, of
being "news." If there is none available about
her, someone will always manufacture it.

She indignantly denies the divorce rumors.
The more they persist, the more emphatic are
her denials.

And imagine her surprise not long ago, when
the city editor of a Boston newspaper tele-
phoned her to verify the rumor that she was on
her way East to have her baby! He had heard
that she was going to be attended by the same
obstetrician who took care of Libby Holman
Reynolds!

Jean laughingly comments that, aside from
the fact that she isn't going to have a baby, and
wasn't on her way to Boston, the story was
okay.

CHE told me quite sincerely that she wants to
^have one or two children. But not now . She
believes a baby is a full-time job, and so is a
screen career.

"I could not accomplish both without
neglecting one. And it wouldn't be the baby."

After all, Jean is only twenty-three years
old. There is necessarily a time limit to a
screen career. She has plenty of time ahead to
have a family.

There is no show of resentment in Jean, in
spite of the sometimes vicious rumors that
have been circulated about her. She says
reporters are her best friends and that she is
tremendously fond of them.

When she was off the screen for a year (due
to litigation with Howard Hughes, producer)
after her first picture, "Hell's Angels," the
reporters did not permit the public to forget
her.

She was constantly in print — and it was im-
portant to her at that time — as it is at any
time, to an actress. It meant that she did not
have to begin her career all over again at the
end of that year.

They kept her "alive" and made her vital
and interesting news.

But that isn't the only reason Jean has a soft
spot for scribblers. She is one herself.

Nothing small-time about it, either. Xo
little febrile poems, no timorous short stories,
testing her stride. No, she bursts out with a
bombshell, just as Jean Harlow should. She
has written a novel!

My admiration increased by leaps and
bounds when she told me how she went about
it. A direct and business-like method, and a
method she understands. No feeling around in
the dark. No delays, procrastinations, ex-
cuses.

She simply wrote it first in the form of a
motion-picture script.

Jean has read hundreds of scripts. They did
not look so formidable as a novel. They were
stripped of all the unnecessary detail by which
a woman is so easily side-tracked from her main
objective. So Jean blocked out her story in the
shape of a script.

rT,HEN, with everything before her, clear and
-*- concise, she enlarged it into a novel. Not
about Hollywood, either. The locale is New
York.

Sounds simple, doesn't it? All right. Let's
see you try it.

And Jean's novel found a publisher.

I hope her marriage to Rosson will be a suc-
cess. But it's a tougher job than it looks from
the outside — to make a marriage work, with
dark rumors circling around, ready to close in
at the slightest sign of encouragement.

Jean has learned more in her short twenty-
three years than most women have a chance to
learn in a lifetime.

She evinces a gentle tolerance that only
comes to the majority of persons after many
more years of living and experience. I think it
would take more than a rumor to upset her
good balance.

She was big enough to think it over, return
to the studio, and say, " I'm sorry," when many
a lesser luminary has held out to the bitter end.

And it's a lucky break for all of us — because
there'll be another Harlow picture soon!

Jane Froman

Lovely Singer of 7 Star Radio Revue and Ziegfeld Follies

tells why 5(¥ Lipstick is offered
to you for 10^

"At first", writes Jane Froman, "I was skeptical that such a
fine lipstick could be obtained for only 10c. Then I learned
why this amazing offer is being made by the makers of linit—
to introduce the remarkable linit Beauty Bath to those who
had not already experienced its instant results in making the
skin so soft and smooth. I bought some linit; enjoyed the
sensation of a rich, cream-like bath; and sent for a lipstick.
When it came, I was no longer dubious, but now carry it with
me everywhere. I could not wish for a better lipstick."

Just send a top of a LINIT package and 10<^ (wrapping and
postage charges) for each lipstick desired, filling
out the handy coupon printed below.

LINIT is sold by

grocers and department

stores.

CORN PRODUCTS REFINING COMPANY, Dept. P-4,
P. O. Box 171, Trinity Station, New York City

Please send me lipstick(s). Shade(s) as checked be-
low. I enclose p and LINITpackage tops.

D Light □ Medium D Dark

THIS OFFER
good in U. S. A.
only and expires
Sept. 1, 1934

Name ...
Address..
City

. State..

ii4

Photoplay Magazine for April, 1934

"Hereisthe SECRET

says

MaU/Olxui

MOON GLOW

NAIL POLISH
beautifies Your Hands

YOU will be delighted with the smartness of your hands when
you beautify them with MOON GLOW Nail Polish. Keep
on your shelf all of the six MOON GLOW shades — Natural,
Medium, Rose, Platinum Pearl, Carmine and Coral.

If you paid $1 you couldn't get finer nail polish than Holly-
wood's own MOON GLOW — the new favorite everywhere.
Ask your 10c store for the 10c sue or your drug store for the
25c size of MOON GLOW Nail Polish in all shades. If they
cannot supply you, mail the coupon today.

Moon Glow Cosmetic Co., Ltd., Hollywood, Calif.

Gentlemen: Please send me introductory package of Moon
Glow. I enclose 10c (coin or stamps) for each shade
checked. ( ) Natural ( ) Medium ( ) Rose
( ) Platinum Pearl ( ) Carmine ( ) Coral.

Name

St. ty No.

City

.State.

.P-A4

Her Blonde Hair

won me!"'

ROMANCE always comes to blondes who keep
their hair golden. And it's so easy with
Blondex. This special shampoo not only prevents
darkening — but safely brings back natural golden
color to dull, faded light hair. Brings out sparkling
lights — adds gleaming radiance. Not a dye. No
harmful chemicals. Fine for scalp. Used and recom-
mended by scores of famous blonde movie stars. Two
sizes — $1.00 and 25c. Get Blondex today and see
how beautiful your hair can be.
NEW! Have you tried Blondex Wave-Set? JHj "^
Doesn't darken light hair like ordinary jir.
wave-sets. Not sticky or flaky. Only 35s!. «CS£.

DR. WALTER'S

flesh colored gum rubber garments

LATEST BRASSIERE. 2 to 3 inch com-
pression at once. Gives a trim, youthful,
new style figure. Send bust measure $2.25
REDUCING GIRDLE. 2 to 3 inch com-
pression at once. Takes place of corset
Beautifully made: very comfortable. Laced
at back, with 2 garters in front. Holds up
abdomen. Send waist and hip meas-
ure $3-75

Write for literature. Send check or

money order — no cash.

DR. JEANNE P.H.WALTER, 389 Filth Ave.,N.Y.

flKfene ovxTKeatre

1 ( Iraduates; Lee Tracy, Petty Shannon, Fred Aataire, Una Merkel, /.ita
Joiiann Mary Pickford, etc. Drama, Dance, Speech. Musical Comedy,
ODfra Personal Development, Culture. Stock Theatre Traininc appear-
ancen while learnine. For catalo*. write Sec'v ERWIN, 66 West
65th St., N. Y.

Hollywood Fashions

by Seymour

Here is a list of the representative stores at which faithful copies of the smart styles
shown this month can be purchased. Shop at or write the nearest store for complete
information.

ALABAMA—

Loveman, Joseph & Loeb,
birmingham.

ARKANSAS-
pollock's,

fayettevtlle.
Pollock's,

fort smith.
The M. M. Cohn Company,

LITTLE ROCK.

CALIFORNIA—
J. \V. Robinson Company,

LOS ANGELES.

The H. C. Capwell Company,

OAKLAND.

Hale Brothers, Inc.,

sacramento.
The Emporium,

san francisco.

COLORADO—
The Denver Dry Goods Company,

DENVER.

CONNECTICUT—

The Manhattan Shop,
hartford.

DELAWARE-
ARTHUR'S Apparel Shop, Inc.,

WILMINGTON.

DISTRICT OF COLUMBIA—
Lansburgh & Brother,
washington.

FLORIDA-
RUTLAND Brothers,

ST. PETERSBURG.

IDAHO—
The Mode, Ltd.,

BOISE.

ILLINOIS-
MARSHALL Field & Company,

CHICAGO.

C. E. Burns Company,

DECATUR.

Clarke & Company,

peoria.
S. A. Barker Company

SPRINGFIELD.

INDIANA-
RAYMOND Cooper, Inc.,

INDIANAPOLIS.

IOWA—

Younker Brothers, Inc.,

des moines.
J. F. Stampfer Company,

DUBUQUE.

MAINE—
B. Peck Company,
lewiston.

MARYLAND—

HOCHSCHILD, KOHN & COMPANY,
BALTIMORE.

MASSACHUSETTS-
JORDAN Marsh Company,

boston.
Forbes & Wallace, Inc.,
springfield.

MICHIGAN—
Wm. Goodyear & Company,

ANN arbor.
Seaman's, Inc.,

battle creek.
The J. L. Hudson Company,

DETROIT.

Gilmore Brothers,
kalamazoo.

MINNESOTA—
The Dayton Company,

minneapolis.

MISSOURI—

Stix, Baer & Fuller Company,
saint louis.

NEBRASKA—

Orkin Brothers,

LINCOLN.

NEW YORK—

Kalet's,

auburn.
Abraham & Straus,

brooklyn.
The Parisian, Inc.,

ithaca.
Bloomingdale's,

new york city.
H. S. Barney Company,

schenectady.
Flah & Company,

syracuse.
D. Price & Company,

UTICA.

OHIO—

The Mabley and Carew Co.,

cincinnati.
The Higbie Company,

cleveland.
The Morehouse-Martens Company,

columbus.
The Rike-Kumler Co.,

DAYTON.

The Strouss-Hirschberg Company
youngstown.

OKLAHOMA-
POLLOCK'S,

MCALESTER.

PENNSYLVANIA-
ERIE Dry Goods Company,

ERIE.

Bowman & Company,

harrisburg.
Joseph Horne Company,

pittsburgh.
Worth's, Inc.,

YORK.

TENNESSEE—
Loveman, Berger & Teitlebaum Inc.,

nashville.

TEXAS—
The Wolff & Marx Company,
san antonio.

WISCONSIN—

Stuart's,

milwaukee.
Racine Cloak Co.,

RACINE

WEST VIRGINIA—

Coyle & Richardson, Inc.,
charleston.

Photoplay Magazine for April, 1934

Ladies as Mr. Menjou
Likes Them

CONTINUED FROM PAGE Ot

a man. Certainly, if I smoked his cigarettes.
1 wouldn't complain about the brand. And
I'd shun long cigarette holders.

When I went out with a man, he would
drive the car, no matter if it were my own.
I'd consider it his job. If he had sent flowers,
I would mention them and thank him. In
fact, I would be polite enough to thank him
for the theater, the dinner, the dance, or what-
ever he provided for entertainment, instead of
taking it all for granted.

Somehow, I would manage never to keep a
man waiting unduly, because, after several
years, I'm sure I should learn that men don't
like it.

I think I'd find time to investigate my own
powers of interesting conversation. If they
proved weak, I'd refrain from keeping up a
running stream of empty-headed small talk.
Especially would I avoid dwelling upon my-
self, my diet, or my hospital experiences. Some
people faint easily. And when I did talk, I'd
manage to speak in a voice designed for im-
mediate audition — not across the room. And
laughter likewise.

T'D avoid cliches of conversation and most
■^contemporary slang. One trip to London
wouldn't make an English accent stick; I'd
employ the natural, domestic one. I would
never swear in the masculine manner — cer-
tainly not in public.

When an evening demanded highballs or
cocktails, I'd watch them closely enough to
keep from letting my tongue run away with
my thoughts. I'd consider it dangerous.

I would never have a host of friends whom
the man I knew "must know." I wouldn't
foist people on him unless he suggested it, be-
cause I'd realize that he might possibly be
bored at meeting strange people in whom he
had no interest. Nor would I ever insist that
he play bridge (pointing out his errors), or do
anything in which he had expressed himself as
taking no interest.

If I ever caught myself talking baby talk or
anything even approaching it, I would march
straight to the bathroom and wash my own
mouth out with soap — it works very well with
most children. That includes such expressions
as "bye-bye" over the telephone, an in-
strument which I certainly would use with dis-
cretion. If I had reason to call up a man, I
wouldn't hesitate to do so, but I'd never keep
after a man, or take the initiative in making
social engagements. I'd let him be what he
wants to be — the aggressor.

I'D let him say where to go, or at least ask
for suggestions before I settled on it. And
when we got there, if he wanted to flirt with
every other woman in the place, I would never
let him know it bothered me in the slightest.

If I were a woman, I would play some
athletic game well, but I wouldn't let it
monopolize my life, my thoughts, and my con-
versation.

If I had a fondness for horses, I wouldn't
insist upon talking horses always, or go around
daily clad in jodhpurs or boots, smelling of
the stables.

If a tan became me, I'd acquire one, but if
I were fair, I wouldn't brook the impossible
and peel to a raw redness all summer.

I'd try to learn at least enough French to
get by in a restaurant, but I wouldn't parade
my knowledge. There is nothing more dread-
ful than anyone attempting French without
complete mastery of the accent. I'd acquire
at least a speaking acquaintance with the arts,
but I wouldn't go into an impressive theatrical
act at the slightest cultural opportunity.

KGOL

MILDLY MENTHOLATED CIGARETTE- CORK-TIPPED

A NEW CHAMPION IN THROAT COMFORT

KGDL

MILD MENTHOL

(JimtvfleL

CORK TIPPED

Introduced less than one year
ago, a whole army of smoke fans
is now cheering for this mildly
mentholated cigarette. It's as re-
freshing as an opened window in
a smoke-heavy room. The mild
menthol in KOOLS doesn't in-
terfere with the full flavor of the
fine tobaccos, but it does end the
dry throat of ordinary smoking.
Cork-tipped: they don't stick to
lips. FREE coupons packed with
KOOLS bring you initialed gilt-
edged Congress Quality U. S.
Playing Cards and other premi-
ums. (Offer good in U.S.A. only.)

Send for illustrated premium list.

Brown & Williamson Tobacco Corp.
Louisville, Ky.

CORK-TIPPED. ..154 for TWENTY

Photoplay Magazine for April, 1934

Have I been talking? I'm afraid I've been
thinking out loud, indiscreetly expressing
thoughts I've held for a long time but managed
to keep locked in my bosom. They look just
a little intimidating, set down on paper.

Ah, well, it's too late now. And as long as

'/,. / / // l\\ //I ^ l^ * * ^V

7/1 IX YOUR HAIR, TOO! N

It's easy to keep your hair sunny, youthful, lustrous
always — if you use Gulden Clint Shampoo! Banishes
dullness instantly — yet no one will ever guess yout
secret. In fact, you'll soon find that lovely hair is the
charm which brings popularity, romance, happiness! 25c
at your dealers', or send for" free sample.

FREE

J. W. KOBI CO., 604 Rainier Ave., Dept. D,
Seattle, Wash. * » « • Please send a free sample.

Name

Address

City

State^

Color of my hair:

vgfr&Siri

CrccoAUfrv

Keep your wave lovely for days
longer with the original, superior
DONA Wave-Protector. Me-
dium and large sizes in pastel
colors. Also brown and black.

fortably under the chin. Skillfully
shaped to give utmo*t protection
to your wave. Order No. 300.
FOR DAY WEAR

*ave-protecting turban
for home wear or at sports «nd
motorlnq. Order No. 500.

Be a Nurse

MAKE $25-535 A WEEK

You can learn at home in spare time.
Course endorsed by physicians. Thousands
of graduates. Est. 35 years. One graduate
has charge of 10-bed hospital. Another
saved $400 while learning. Equipment
included. Men and women 1 8 to 60. High school not re-
quired. Easy monthly payments. Write us now.
CHICAGO SCHOOL OF NURSING
Dept. 1294. 26 N. Ashland Blvd.. Chicago, III.
Please send free booklet and 32 sample lesson pages.

N a m e

Citv

_State

.Ase.

5 to '50 week at Home

I Grow Mushrooms in your cellar or
' shed. Experience unnecessary, we
tell you how. Big demand — write
I today for free Mushroom Book.
American Mushroom Industries. Ltd,, Dept, 504' Toronto.Ont

i '"won

I'm in for it, I might as well add one more
very important thing —

I would see all motion pictures in which
Adolphe Menjou played — for, of course, if I
were a woman, I'm quite certain my favorite
actor would be Adolphe Menjou.

Anna Sten — The Million Dollar Gamble

CONTINUED FROM PAGE 41

While she was making "Xana," Gary Cooper
came to visit her on the set. Miss Sten. wear-
ing a feathered negligee, had just seethed
through a scene with one of her lovers. At
the end of the sequence, she walked over to
meet Gary, and an ambitious publicity man
thought it would be clever to photograph them
together.

Miss Sten, however, refused to be photo-
graphed with Mr. Cooper en negligee. Her
reasoning gave the Hollywood publicity man
heart failure! It seemed, Gary was still Mr.
Cooper to the Russian star.

" It \vould;be different," she said, "if Meester
Coopaire were playing in the picture with me.
Then we would both be in character when we
were photographed, no matter what costume
we had on. But he is a gentleman visitor to
the set. It would be very undignified of me
to allow mys|lf to be photographed with him
so — half -undressed ! "

That's Anna Sten — the woman.

■-

TTHE hard-boiled censor is so intrigued by
-*- her, he forgets his job. The Hollywood-wise
press-agent .gasps in amazement at a star so
modest, she„'refuses to pose in a negligee with
a male star "The press is bewildered by an
actress who is anxious to make an interview
interesting and truthful.

The story has been told often, how Goldwyn
gambled a rhillion dollars over a two-year
period on the faith that this daughter of Soviet
Russia would be a colossal sensation in Amer-
ica. Only, the press-agents got the sum up
over a million.

But after the New York premiere of
"Xana," those high praises chanted for Miss
Sten were not the hallelujahs of press-agents.
They were the ravings of the motion picture
critics of Xew York's great daily newspapers
— a clan that makes no general practice of
gushing, and that includes two or three who
are rather hard-boiled in their attitude toward
the screen.

Several of this clan were lukewarm or un-
flattering toward the adaptation of the story
— admitted by the producer to have just a
loose relation to the "Xana" of Emile Zola, a
Xineteenth Century novel. Zola wrote about a
Parisian demi-mondaine, whose unregenerate
career ended in a horrible death by smallpox.
Miss Sten's Nana is nobler, and dies gracefully
as a generous sacrifice — a suicide.

But as for Miss Sten herself, all of the critics
clapped hands and some shouted approval.

Which was not surprising, since most critics
who saw the picture on' the West Coast-dis-
covered the same thing beforehand — that
Anna Sten is distinctly a screen personage to
be reckoned with.

She came over here in April, 1932. For a
year and a half Goldwyn paid her a salary
said to have been SI ,500 a week, but took her
before the camera only for tests. He hired
teachers to tutor her in English and school her
in American ways. Then, when he thought
she was ready, he began production on
"Xana." A quarter of the way through it,
Goldwyn was dissatisfied. Production ceased.
The film was shelved. He had already in-
vested nearly half a million dollars in the
Russian star. And he still thought she was
worth half a million more.

Production on the picture began- anew, with
the insistence that every production detail
must be exactly correct.

When the picture was finally finished, Gold-
wyn spent thousands of dollars more adver-
tising Anna Sten as a personality.

Goldwyn believes Sten is different from any
star that has ever come to Hollywood.

Zola, in his novel, describes his heroine thus:
"Xana has something else, by heaven! and
that something is better than all the rest. She
has it strongly . . . Wait until you see her.
She has only to show herself and she'll make
their mouths water."

And Goldwyn believed the same description
fits the girl on whom he gambled a million.

Polly With a Future

CONTINUED FROM PAGE 71

The rehearsing company gave up the stage
for the try-outs and moved out front to watch.
Polly told Sam Harris she just could not get
up on that stage and read a line, she was so
paralyzed with awe of Marilyn Miller's
presence.

Harris humored her; persuaded her to try
a private audition in his office. She did this
and Harris liked her. He was seriously con-
sidering her for the role, when along came Tom
Weatherly offering her a part in the farce,
"She Loves Me Not," which he and Dwight
Deere Wiman were producing.

Weatherly had heard that odd voice of hers
slinging slang at some time or other, so Polly
popped into his mind when he needed a girl
to play the hoydenish Curley Flagg in the
Howard Lindsay dramatization of Edward
Hope's novel.

Polly looked over the script and decided it
was just the part for her, regardless of what
Harris might decide.

Weatherly and Wiman didn't overexert
themselves ballyhooing the fact that Polly
Walters was their lead before the opening
night of "She Loves Me Not." Because, we
may suppose, they realized her name didn't
mean anything much in the legitimate theater.

But at that late November premiere, hard-
ened critics rolled in the aisles, guffawing at the
genuine comedy that Polly got out of a wildly
imagined character and far-fetched situations.

A few words might give you an idea of what
"She Loves Me Not" is all about.

Curley Flagg (Miss Walters) is a hoofer in a
Philadelphia night spot. A gangster drops in
and casually slays another mob gorilla. Curley
throws a coat about her daringly scant dance
attire and grabs the first out-of-town bus.
She's afraid the cops will pen her up for months
as a material witness.

The bus takes her as far as Princeton, New
Jersey. Wandering the streets, hungry and
tired, she finally slips into the dormitory room

Photoplay Magazine for April, 1934

1I7

of a Princeton senior, burning midnight oil
for his graduation exams. This impression-
able youth and three others in the dorm agree
to conceal Curley from police and the faculty,
until the smoke of the gangster's gat blows
over. They begin by giving her a boy's hair-
cut and outfitting her with their too-large
clothes.

Before the third act curtain, faculty mem-
bers, gangsters, communists, newspaper re-
porters and photographers, indignant families,
a motion picture company, and the United
States Senate are all involved in just about the
most uproarious farce of recent seasons.

PARAMOUNT is going to put this boisterous
-*- comedy on the screen, perhaps with Polly
Wallers in her form-fit ting part of Curley Flagg.
Anyway, she has other opportunities to go
back to the Hollywood that not so long ago
discarded her, at a wage that will make her
old pay checks out there seem miserly. Of
course, she won't go until the prosperous box-
office business of the stage play is ended. " She
Loves Me Not" has been a consistent leader of
the Broadway recovery and gives no indication
of going dead.

Unquestionably Polly has a future. But
how far it will stretch — in pictures — may de-
pend upon the degree of her versatility.
Usually, people don't go on and on, getting
roles made to order for them like Curlev fits
Polly.

Can she do anything else, and can she talk
in any other way? Polly will have to show
Hollywood. That baby-drawl certainly fol-
lowed her into her dressing-room, where I
talked to her. It has elements of her native
Middle-West, of Xew York, of the vaudeville
stage, of naivete and nasality. The way she
handles it on the stage is "cute" — there is no
other more fitting descriptive, even when she's
bandying the non-parlor lingo of her role.
But, she said:

"I'm studying diction every day."

Her face is not patterned after the usual
standards of beauty, but when she goes on
the boards she packs a wholesale lot of sex-
appeal in her hundred-and-three pounds of
five-foot, three. She is not married and is not
very committal about love.

Polly was born in Columbus, Ohio, and
began to study dancing there when she was six.

"""THE Walters family moved to Zanesville,
•'■but by the time Polly was fifteen she was
in Xew York and ready for a barnstorming
career that took her to county fairs — where she
got splinters in her feet and other places from
dancing on rough board platforms — and over
small-time vaudeville routes.

She hooked up with an adagio team called
"The Three Demons," and during a Pitts-
burgh engagement, one partner threw her
across the stage and the other one missed.
Polly says she thinks he had gone out to get a
sandwich. Anyway, she was nursing fractured
ribs for several months thereafter.

Over such a path of hard knocks she worked
back to Broadway, and did several things cf
no great consequence in musical comedy. She
was in a vaudeville act with Eddie Cantor at
the Palace when a Warner Brothers scout saw
her, signed her, and sent her to Hollywood
without a letter of identification.

On her next trip to the coast she'll have her
mother with her. There must be somebody
to look after Polly all the time; she's that child-
ish, she admits. A maid, Ray Lindsay, is
her constant companion at the theater. One
of Ray's jobs is to attach the false curls for
every performance, which come off in the
hair-cutting scene (Polly's own hair is cropped
short).

One night Ray's subway train stalled, she
was a couple of hours late getting to the
theater, and Polly nearly had hysterics, getting
the complicated curls on right.

It's easy to believe her when Polly says
she's a "little afraid," going back to Holly-
wood, even with the advantage of being
Somebody.

THE

1934, Lentheric

O hill of dreams

You cannot know in what hour of

your busiest day he will pass and

pause . . . and sweep you off to some
high hill of dreams.

Wrap yourself round with the charm
that kindles the urge to know you
. . . the charm of the new Daytime
Fragrance, Bouquet Lentheric. Golden
liquid, born of the wedding of a pre-
cious Lentheric perfume and an Eau

de Cologne supremely fine — a dou-
ble essence. A liquid that sends you
tingling toward each day . . . then, a
moment after, blooms to a light and
lingering fragrance.

Ask for the new Daytime Fragrance,
Bouquet Lentheric — in any language,
in any country — wherever fine per-
fumes are sold. Lentheric, 245 Rue
Saint-Honore, Paris; Fifth Ave., N.Y.

Four-ounce flacon, $1.00

Bouquet Lentheric may be obtained
in five leading Lentheric Perfumes:
Miracle, Foret Vierge, Asphodele,
Lotus d'Or, and Au Fil de l'Eau.

ATI

How to use Bouquet Lentheric

In the morning, after bath or shower,
apply Bouquet Lentheric freely to the
body. Spray it with an atomizer, or
pat it on with your hands.

Bouquet ! Lentheric

the new daytime fragrance

"QUIET, BUT WITH A STRANGE PERSISTENCE"

Photoplay Magazine for April, 1934

The

SHERRY-NETHERLAND

"Private Homes" By-the-Day

The smarter overnight home in New York . . . and so much
pleasanter than the usual hotel! Charming two-room suites,
with living-room, bedroom, dressing-room, serving pantry.

FIFTH AVENUE AT 59TH STREET • ON CENTRAL PARK • NEW YORK

LOOKS AND FEELS LIKE NEW WOMAN

thanks to

DON'T let your skin
get blotchy— don't
let headaches dull your
eyes and fill your forehead
with wrinkles. This very
night, give Dr. Edwards
Olive Tablets a trial. Forio
years, they have helped thou-
sands banish unsightly blemishes
and pimples; have made dull cheeks ^**
bloom again with girlish beauty ;have made
women everywhere feel and look like new

"The internal cosmetic '

An efficient substitute for calomel, and

Dr. Edwards

much easier to take, Dr.
Edwards Olive Tablets
get at the cause of so
many poor complex-
ions. They help nature
restore normal action
in liver and bowels and
sweep out deadening poi-
sons of constipation.
See and feel how this tested com-
pound of vegetable ingredients can bring
back the buoyant joy of health. No grip-
ing. Safe and harmless. Non-habit-form-
mg. For listlessness, sallow skin. Noth-
ing better. 15ft, 30^, and 6ojS.

Read PHOTOPLAY MAGAZINE

if you want the real news of the world of motion pictures

pHOTOPLAY is made the most in-
teresting and readable magazine in its
field by features which appeal to motion
picture patrons, but it goes much farther.
It goes farther than any other magazine
of its type. It publishes the NEWS of
the great world of motion pictures —
live, reliable NEWS. Read Photoplay,
compare it with any other magazine in
the field and be convinced.
Clip and Mail the Coupon NOW!

PHOTOPLAY MAGAZINE, Dcpt. 4-P-34,
919 No. Michigan Ave., Chicago, 111.

Gentlemen: I enclose herewith $2.50 (Canada and For-
eign $3.50} for which you will kindly enter my sub-
scription for PHOTOPLAY MAGAZINE, for one
year, effective with the next issue.

Send to.

Street .

City.

. State .

Brief Reviews of
Current Pictures

[ CONTINUED FROM PAGE 17 1

LADY KILLER— Warners.— When ex-girl friend
Mae Clarke becomes a nuisance, Jimmy Cagney
tries the new sf unt of dragging her about by the hair.
Margaret Lindsay, Leslie Fenton. Fast comedy,
but unconvincing story. (Feb.)

LAST ROUND-UP, THE— Paramount.— Monte
Blue, Fred Kohler and Fuzzy Knight in a Western
that boasts plenty of action and good suspense.
Randolph Scott and Barbara Fritchie provide the
romance. (March)

LAST TRAIL, THE — Fox. — A Zane Grey
Western with racketeers instead of rustlers, and speed
cops in place of cowboys. The changes don't help it.
(Oct.)

LET'S FALL IN LOVE— Columbia.— Director
Edmund Lowe's fake Swedish film find (Ann Sothern)
goes over with Producer Gregory Ratoff until Lowe's
fiancee Miriam Jordan tips him off. One good tune.
See this. (March)

LIFE IN THE RAW— Fox.— George O'Brien and

Claire Trevor in a Western enriched with new ideas.
(tW.)

• LITTLE WOMEN— RKO-Radio.— This clas-
sic is exquisitely transferred to the screen.
Katharine Hepburn, as Jo is sky-rocketed to greater
film heights. Joan Bennett, Frances Dee and Jean
Parker, as Jo's sisters, give spendid performances.
(Jan.)

LONE COWBOY— Paramount.— Without Jackie
Cooper there wouldn't be much of a picture. Jackie's
sent West to comfort his dead father's pal embittered
by his wife's (Lila Lee) faithlessness. (Jan.)

LOVE, HONOR AND OH, BABY!— Universal.
— (Reviewed under the title "Sue Me.") Shyster
lawyer Slim Summerville tries to frame ZaSu Pitts'
sugar-daddv. Riotously funny, after a slow start.
( Noi:)

MADAME SPY— Universal.— Spy Fay Wray
marries Austrian officer Nils Asther, who also be-
comes a spy. Vince Barnett, John Miljan, Edward
Arnold. Nothing very unusual here, but skilfully
handled. (March)

• MAD GAME, THE— Fox.— Spencer Tracy,
imprisoned beer baron, is released. to catch a
kidnaper. He loves the assignment — after what the
kidnaper did to him. Love interest, Claire Trevor.
Well acted. Not for children. (Jan.)

MAN OF TWO WORLDS— RKO-Radio— After

his New York stage success. Francis Lederer should

have had a stronger vehicle for his initial American

i screen appearance. It's the story of an Eskimo

brought to civilization. Elissa Landi. (March)

MAN'S CASTLE— Columbia.— A deeply moving
tale of vagabond Spencer Tracy and his redemption
by Loretta Young's love. (Dec.)

*MAN WHO DARED, THE— Fox.— Life story
of the late Mayor Cermak of Chicago, from an
immigrant boy in a coal mine to his assassination at
the side of President Roosevelt. Fine cast, Preston
Foster in the lead. (Oct.)

MARRIAGE ON APPROVAL— Freuler Film —
Harbara Kent and Donald Dillaway are married but
she doesn't know about it, though she lives with him,
because they were on a hectic party when it happened.
Complicated plot. (March)

MASSACRE— First National.— Educated Indian
Richard Barthelmess displays his marksmanship at
World's Fair, and returns to the reservation when his
father becomes ill. Ann Dvorak aids in squaring
matters with crooked government agent. (March)

MEANEST GAL IN TOWN, THE— RKO-
Radio. — A capable group of comedians, including El
Brendel, ZaSu Pitts, "Skeets" Gallagher, Jimmy
Gleason and Pert Kelton, make this worth-while
entertainment. (March)

MEET THE BARON— M-G-M— Jack Pearls
film version of his radio nonsense about Baron Mun-
chausen. Grand support; often hilarious. (Dec.)

MIDSHIPMAN JACK— RKO-Radio.— A color-
ful story of Annapolis and a careless midshipman who
makes good. Bruce Cabot, Betty Furness, Frank
Albertson, others. (Dec.)

Photoplay Magazine for April, 1934

II9

i MISS

FANE'S BABY IS STOLEN— Para-
mount.— A powerful, thrilling presentation of
the kidnaping menace, with Dorothea Wieck as Baby
LeRoy's mother. Alice Brady, Jack LaRue. Excel-
lent suspense. (March)

• MOONLIGHT AND PRETZELS— Univer-
sal.— Leo Carrillo, Lillian Miles, Roger Pryor,
Mary Brian, in a musical. Familiar theme but ex-
cellent numbers. (.Nov.)

• MOULIN ROUGE— 20th Century-United
Artists. — Gorgeous clothes, hot-cha dances,
smart dialogue, and splendid performances by Con-
stance Bennett and Franchot Tone put this film in the
A-l class. Tullio Carminati, Russ Columbo and the
Boswell Sisters. (March)

MR. SKITCH— Fox.— The trip West in the
family rattler of Mr. and Mrs. Ski ch (Will Rogers
and ZaSu Pitts) provides laughs galore. Florence
Desmond's impersonations are grand. (Feb.)

MY LIPS BETRAY— Fox.— A musical comedy
kingdom in which cabaret singer Lilian Harvey falls
in love with king John Boles, and is loved by him.
El Brendel. Fair. (Jan.)

MY WOMAN— Columbia.— Wally Ford gets a
radio break when his wife. Helen Twelvctrees, vamps
Victor Jory into the idea. But success goes to Wally 's
head; he loses his job — and his wife. (Jan.)

*MY WEAKNESS— Fox.— Lilian Harvey as a
Cinderella coached by Lew Ayres to catch his
rich uncle's son, Charles Butterworth. Charles is a
riot. (Dec.)

MYRT AND MARGE— Universal.— Two popular
radio stars do their stuff for the movies; an amusing
little musical. ( A'oii.)

• NANA — Samuel Goldwyn-United Artists. —
Anna Sten, exotic Russian beauty, makes an
impressive debut on the American screen as Nana in
Zola's classic. Richard Bennett, Mae Clarke,
Phillips Holmes, Lionel Atwill. (March)

• NIGHT FLIGHT— M-G-M.— All star cast,
with two Barrymores. Helen Hayes, Robert
Montgomery, Myrna Loy. Clark Gable, others. Not
much plot, but gripping tension and great acting, as
night flying starts in the Argentine. (Nor.)

OLSEN'S BIG MOMENT— Fox.— El Brendel is
not only a janitor, but a matchmaker and a caretaker
for an intoxicated bridegroom. Plenty of laughs.
Walter Catlett and Barbara Weeks. (Jan.)

ONE SUNDAY AFTERNOON — Paramount-
Dentist Gary Cooper suddenly finds his life-long
enemy in his dental chair, at his mercy, and thinks
back over it all. Direction could have done better
with cast and story. (Nov.)

ONE YEAR LATER— Allied.— Melodrama that
turns a slow start into a good finish. Mary Brian
and Donald Dillaway. (Oct.)

• ONLY YESTERDAY— Universal.— Its a hit
for Margaret Sullavan in the role of a girl who
kept the secret of her unwise love from her lover,
John Boles, for many years. Splendid direction.
(Jan.)

ORIENT EXPRESS— Fox.— Norman Foster,
Heather Angel and Ralph Morgan become involved
with several other passengers while traveling on the
Continental Express. Fair. (March)

• PADDY, THE NEXT BEST THING— Fox —
Janet Gaynor in a whimsical, delightful story
of an Irish madcap girl who doesn't want big sister
Margaret Lindsay forced to marry rich planter
Warner Baxter. (Nov.)

PALOOKA— Reliance-United Artists.— All about
a country lad, Stuart Erwin, becoming a prize-fighter.
Jimmy Durante, Lupe Velez. Marjorie Rambeau and
Robert Armstrong. Grand fun throughout. (March)

•PENTHOUSE— M-G-M.— Standard melodrama
about a "high life" murder, but thrillingly done
by Warner Baxter. C. Henry Gordon, Myrna Loy,

Phillips Holmes, Mae Clarke, and others. (A'of.)

PICTURE BRIDES— Allied.— Scarlet sisters,
diamond miners, and not much else. (Dec.)

POLICE CALL— Showmens Pictures.— Wild ad-
ventures in Guatemala; a mediocre film. (Nov.)

POLICE CAR 17— Columbia.— Tim McCoy, in a
radio squad car. chases a crook, and winds up in
marriage with Evalyn Knapp, daughter of the police
lieutenant. Just so-so. (Jan.)

POOR RICH, THE— Universal.— Edna May
Oliver and Edward Everett Horton put on a grand
show when unexpected guests, who do not know their
hosts have lost their wealth, arrive. Excellent sup-
porting cast. Lots of laughs. (March)

Marguerite Churchill

Charming star of stage and screen

It's no truer of a woman's figure
than of her face and neck that a
lovely skin is never muddy; nor
are alluring contours ever hard
and angular. DOUBLE MINT gum
helps keep your complexion
clear by aiding circulation —
and does it immediately. Just
as quickly it relaxes any hard,

and see. Enjoy double

mint five or ten minutes daily

Always just before a Big Moment

I 20

(Aunucm!

Instant Relief from CORNS/
CALLOUSES, BUNIONS, SORE TOES

Gone is the pain and the cause — shoe friction
and pressure — when you use Dr. Scholl's
Zino-pads! Relief is immediate. These thin,
dainty, healing, protective pads soothe aching
corns, throbbing bunions, painful callouses,
sore toes, chafed heels and irritated insteps.
They prevent blisters and ease tight shoes.
To quickly, SAFELY loosen and remove
corns and callouses, use Dr. Scholl's Zino-
pads with the separate Medicated Disks in-
cluded for that purpose. Sold everywhere.

Ask for the Corn Size for corns and
sore toes; Callous Size for callouses
and eore heels; Bunion Size for
hunionsand 6ore insteps; Soft Corn
Size for come between the toes.

D-r Schoils

lino -pads

PUT ONE ON — THE # PAIN IS GONE)

HAVE YOU OTHER FOOT TROUBLES

Dr. Scholl has formulated and perfected a
Remedy or Appliance for every foot trouble —
assuring quick, safe relief. Ask your dealer.
Write for valuable booklet on FOOT CARE to
Dr. Scholl's, Dept. c8, W. Schiller St., Chicago.

GRMHAIR

Gray or Faded Hair IS
HI taken as a sign of old
■ /// age; age Is judged by
your hair.

JApOti"0* QuickIy
colors your gray
streaked or faded hair IN ONE BRIEF
APPLICATION giving it a lovely radiance and
youthful allurement. Do not hesitate to try
this marvelous preparation. Used 19yearsby
millions of fastidious women. Absolutey uniform and
dependable. Will not stain scalp, rub or wash off. Not
affected by sea or Turkish baths, sun, waviDg, or
previous dyes. Easily applied at home.
14 Shades, Black to B'onde. Price $1.25 P. P.

B. PAUL'S WHITE PASTE (Formerly Called)
•'White Henna"for lightening blonde hairgrowff
dark. Price $2.35 P. P. Tree Advice and Booklet.

B. PAUL, Inc., Dept. 8-H, 21 W. 39th St., N. Y

Perfumes

m m.

W i -w 1 W 1 W a j) Hollywood
Bouquet

H , 1 2) Black Velvet

B l\ 3) Mystic Night

r ts3 4) Monte Carlo

Redwood Treasure Chest: Contains 4— soc

bottles of these High Grade Perfumes. Chest 6 in. by
3 in. made from Giant Redwood Trees of California.
Send only $1 00 check, stamps or currency. (Regular
Value $2,001. Money back if not greatly pleased.

Paul Rieger, isi 1st Street, San Francisco

Photoplay Magazine for April, 1934

POPPIN' THE CORK — Fox-Educational. —
Milton Berle in a three reeler with the "repeal" angle.
Two good songs and some effective dance ensembles
(March)

• PRIVATE LIFE OF HENRY VIII, THE—
London Film-United Artists. — Charles Laugh-
ton superb and also gorgeously funny as the royal
Bluebeard; photography is inspired. (Dec.)

• PRIZEFIGHTER AND THE LADY, THE
— M-G-M. — With Myrna Loy to make love to,
and Camera to fight. Max Baer is the hero of one of
tlie best ring pictures yet made. He'll challenge any
lady-killer now. (Jan.)

QUATORZE JUILLET ("JULY 14")— Protex
Pictures. — A taxi driver and a girl enjoy the French
national holiday together. The comedy can be better
appreciated by those who know French. Fair. (Jan.)

• QUEEN CHRISTINA — M-G-M.— As
Sweden's Queen Christina, Garbo makes a
magnificent appearance with John Gilbert, who does
fine work in his screen comeback. Splendid support
by Cora Sue Collins. Lewis Stone, Ian Keith, and
Reginald Owen. (March)

• RAFTER ROMANCE — RKO-Radio. —
Scrambled plot, but good fun. Two down-and-
out youngsters (Ginger Rogers and Norman Foster)
sent to li ve i n t he attic because they can't pay the rent.
Unknown to each other, they meet on the outside.
Then the fun begins. (Oct.)

• RIGHT TO ROMANCE, THE— RKO-
Radio. — Ann Harding, a plastic surgeon, tired
of success and eager for love and adventure, marries
playboy Robert Voting, while constant doctor ad-
mirer Nils Asther patiently awaits the outcome.
Sophisticated. (Feh.)

• ROMAN SCANDALS— Samuel Goldwyn-
United Artists. — Quite different from the
ordinary musical. With Eddie Cantor and a bevy
of beauties; Ruth Etting of radio fame: some lavish
dance ensembles, and a chariot race that's thrilling
to the finish. (Feb.)

SAGEBRUSH TRAIL— Monogram.— An average
Western with the usual bad hombres and rough
riding, and John Wayne as the hero. Good photog-
raphy. (March)

SATURDAY'S MILLIONS— Universal.— Foot-
ball hero Robert Young thinks the game a racket, but
finds it isn't. Bright and fast. (Dec.)

SEARCH FOR BEAUTY, THE— Paramount.—
The result of Paramount 's world-wide beauty con-
test. Featuring Ida Lupino, Buster Crabbe, Robert
Armstrong and James Gleason. Amusing. (March)

SHANGHAI MADNESS— Fox.— Melodrama in
China; Spencer Tracy, Eugene Pallette, Fay Wray,
better than the story. (Xo:\)

SHEPHERD OF SEVEN HILLS, THE— Faith
Pictures. — A finely done camera visit to the Vatican,
with scenes showing Pope Pius XI. (Nov.)

SHOULD LADIES BEHAVE?— M-G-M.— (Re-
viewed under title "The Vinegar Tree.") — Mary
Carlisle won't listen to reason when her parents. Alice
Brady and Lionel Barrymore, try to keep her from
marrying suave Conway Tearle. Amusing. (Jan.)

SING SINNER SING — Majestic Pictures. —
Torch singer Leila Hyams tries to reform hubby
Don Dillaway. Paul Lukas, George Stone also in
cast. So-so. (Oct.)

SIN OF NORA MORAN, THE— Majestic Pic-
tures.— The tragic story of a girl (Zita Johann) who
dies in the electric chair to save her lover. Alan
Dinehart, Paul Cavanagh, John Miljan. Very de-
pressing. (March)

SKYWAY — Monogram. — A humdrum thriller
about an airplane pilot, played by newcomer Ray
Walker. {Oct.)

SMOKY— Fox.— The life story of Will James'
wild colt "Smoky," from colthood to "old age."
Victor Jory' turns in a good perfotmance as bronc-
buster. (Feb.)

SOLITAIRE MAN, THE— M-G-M.— Crooked
doings in an airplane. Herbert Marshall, Lionel
Atwill, and Mary Boland as a screamingly funny
American tourist. ( Nov.)

SON OF A SAILOR— First National.— Joe E.
Brown has a weakness for gold braid and pretty girls
including Thelma Todd. Good, clean fun. (Jan.)

SON OF KONG. THE— RKO-Radio— Helen
Mack and Robert Armstrong find the twelve-foot
offspring of fifty-foot King Ko«§ much more friendly
than was his father. Fine photography. (March)

SONS OF THE DESERT— Hal Roach-M-G-M.
— Lodge members Laurel and Hardy have a gay time
trying to escape wives Dorothy Christy and Mac
Busch so they may attend the annual convention.
And they do. See this. (March)

S. O. S. ICEBERG — Universal.— Thrilling and
chilling adventure adrift on an iceberg; marvelous
rescue flying. (Dec.)

SPECIAL INVESTIGATOR — Universal. —
Onslow Stevens and Wynne Gibson are rounded up
as murder suspects. When things look darkest,
Wynne saves the day. Too mystifying to be easily
followed. (Jan.)

STAGE MOTHER— M-G-M.— Alice Brady and

Maureen O'Sullivan in an "ambitious mother and
suppressed daughter" tale; Alice Brady's great work
keeps it from being boring. (Dec.)

STRANGE CASE OF TOM MOONEY, THE—

First Division. — Newsreel material showing Mooney's
side of this noted case. Effectively done. (Oct.)

STRAWBERRY ROAN— Universal.— Ken May-
nard and Ruth Hall good; but the horses are so fine,
humans weren't needed. An exceptional Western.
(Dec.)

SWEETHEART OF SIGMA CHI, THE— Mono-
gram.— Buster Crabbe and Mary Carlisle ornament
an otherwise so-so tale of college life. (Dec.)

SYAMA — Carson Prod. — The elephant doings
here might have made a one-reel short; otherwise,
there's nothing. (Nov.)

TAKE A CHANCE — Paramount. — Tent-show
crooks James Dunn and Cliff Edwards try to build
up June Knight for Broadway. Lilian Bond and
Buddy Rogers. Excellent musical numbers. (Jan.)

TARZAN THE FEARLESS— Principal.— Buster
Crabbe doing Johnny Weissmuller stuff in a disjointed
Tarzan tale. Indifferent film fare. (Nov.)

THIS IS AMERICA— Frederick Ullman, Jr. Prod.

— Newsreel material, brilliantly selected and as-
sembled by Gilbert Seldes, tells the story of America
from 1917 to the present. Well worth seeing. (Oct.)

• THREE-CORNERED MOON— Paramount.
— Nicely done comedy about an. impractical,
happy family. Mary Boland the impractical mama;
Claudette Colbert the daughter, in love with would-
be author Hardie Albright. But Doctor Dick Arlen
moves in and upsets things. (Oct.)

THUNDERING HERD, THE— Paramount— A
well-directed Zane Grey tale with old-timers Harry
Carey, Monte Blue, Noah Beery and Raymond Hat-
ton. Randolph Scott and Judith Allen provide love
interest. (Feb.)

TILLIE AND GUS— Paramount.— Even W. C.
Fields and Alison Skipworth couldn't make much of
this would-be comedy. (Dec.)

TO THE LAST MAN— Paramount. — Randolph
Scott and Esther Ralston, as representatives of
feuding ex-Kentucky families, lend welcome plot
variety to this good Western. (Dec.)

•TOO MUCH HARMONY — Paramount— A
zippy musical enriched by Jack Oakie, Bing
Crosby, many other A-l laugh-getters. A riot of fun.
( Nov.)

TORCH SINGER— Paramount.— Claudette Col-
bert is an unmarried mother who succeeds as a singer.
Her songs are fine; Baby LeRoy. (Nov.)

TRAIL DRIVE, THE— Universal. — An accept-
able Western with Ken Maynard. (Oct.)

• TUGBOAT ANNIE— M-G-M— Marie Dres-
sier and Wally Beery provide fun running their
tubgoat about Seattle. Not exactly a "Min and
Bill," but splendid entertainment. (Oct.)

• TURN BACK THE CLOCK— M-G-M— Lee
Tracy does a bang-up job as a man given a
chance to live his life over again. Mae Clarke, Peggy
Shannon. Otto Krugcr, others; a fast-moving, grip-
ping story. (Nov.)

TWO ALONE— RKO-Radio.— A dull farm tale,
featuring Jean Parker as the enslaved orphan and
Tom Brown, the boy she loves, also bound to farm
drudgery by Arthur Byron. ZaSu Pitts and Nydia
Westman. (March)

WAFFLES — Helen Mitchell Prod.— They
shouldn't have tried making a Southern girl of Sari
Maritza. The rest of it is in keeping with this mis-
take. ( Nov.)

WALLS OF GOLD— Fox.— Sally Eilers, others,
wander dully through a dull tale about marrying for
money after a lovers' falling out. (Dec.)

Photoplay Magazine for April, 1934

121

WALTZ TIME — Gaumont-British. — Charming
music helps a dull, draggy story. (Dec.)

WAY TO LOVE, THE— Paramount.— Maurice
i hevaliet wants to be a Paris guide, but finds himself
sheltering gypsy Ann Dvorak in his roof-top home.
Plenty of fun then. (Dec.)

WHEELS OF DESTINY— Universal— Plenty of

n, with Indian fights, buffalo stampedes, prairie

hres and a terrific rainstorm, to say nothing of Ken

Mavnard and his horse, Tarzan. Children will be

thrilled. (March)

WILD BOYS OF THE ROAD— First National.—
\ well-done story of youngsters who turned hoboes
during the depression. (Dec.)

WINE. WOMEN AND SONG — Monogram— To
save her daughter (Marjorie Moore), in love with
dance director Matty Kemp, from clutches of
theatrical operator Lew Cody, Lilyan Tashman
poisons Lew and herself. Nothing new here. (Feb.)

WOMAN'S MAN. A — MonogTam. — In her screen
comeback. Marguerite De La Motte causes prize-
fighter Wallace Ford some concern as to his career.
Hut she sets things right again after the big fight.
Fair. (March)

WOMAN WHO DARED, THE— Wm. Berke
Prod. — Assisted by reporter Monroe Owsley,
Claudia Dell manages to outwit gangsters who
threaten to bomb her textile plant. Good cast; fair
story. (Feb.)

WOMEN IN HIS LIFE, THE— M-G-M— A very
melodramatic tale about a lawyer (Otto Kruger) who
finds himself in the odd position of defending the
man who has murdered the woman he (Kruger)
loved. Una Merkel, Roscoe Karns provide comedy
relief. Ben Lyon is young love interest. (Feb.)

WORST WOMAN IN PARIS?, THE— Fox.—

Adolphe Menjou, Benita Hume, Harvey Stephens, in
a mild tale about a misunderstood woman. (Dec.)

YOU MADE ME LOVE YOU— Majestic Pictures.
— In this swift-paced English farce we see a new
Thelma Todd. The "Taming of the Shrew" idea,
with Stanley Lupino adding much to the film. (Feb.)

he iVIAN she first

d to Attract

Natural Lips win where paint repelled

SHE came so near to missing out on happi-
ness ! For when she sought to make herself
attractive by using a lipstick that painted her
mouth, she only made herself misunderstood.

Men are attracted by beautiful lips, but only
by lips that have the natural color of radiant
health. No man wants to marry a woman who
looks as if she uses paint.

There is a way to give your lips the youthful
glow that men admire . . .without risking that
painted look. Use Tangee Lipstick ... it isn't
paint! Instead, it contains a magic color-change
principle that intensifies your natural coloring.

LOOKS ORANGE -ACTS ROSE

Try Tangee yourself. Notice how it changes
color on your lips. Orange in the stick . . . rose
on your lips ! Longer lasting, than ordinary lip-
sticks, too. For it becomes a very part of you
and not a greasy coating. Moreover, Tangee is
made with a special cream base, so that it
soothes and softens lips while it adds to their

Cheeks must not look painted either.
Tangee Rouge gives same natural color
as Lipstick. In new refdlable gun-metal
case. Buy Tangee refills, save money.

allure. No drying, cracking or chapping when
you use Tangee.

Get Tangee today. 39(? and $1.10 sizes. Also
in Theatrical, a deeper shade for professional
use. Or send 10^ with coupon below for 4-Piece
Miracle Make-Up Set containing Tangee Lip-
stick, Rouge Compact, Creme Rouge and Face
Powder.

UNTOUCHED-Lipsleft

untouched are apt to
have a faded look. . make
the face seem older.

PAINTED — Don't risk
that painted look. It's
coarsening and men
don't like it.

TANGEE— Intensifies

natural color, restores
youthful appeal, ends
that painted look.

Shhh! Forty Fathom (Victor Mc-
Lagleni thinks he hears a woman in
"No More Women" — a story of ad-
ventures in deep sea diving

*4-PIECE MIRACLE MAKE-UP SET-10^

THE GEORGE W. LUFT COMPANY P44

417 Fifth Avenue, New York, N.Y.

Rush Miracle Make-Up Set containing miniature Tangee Lip-
stick, Rouge Compact, Creme Rouge and Face Powder.

Enclosed find 10^ (stamps or coin).

Sha"e □ FLESH [] RACHEL Q LIGHT RACHEL

Name —
A ddress-
City

Slate-

122

Photoplay Magazine for April, 1934

home
on the
water

A graceful sweep of cedar . . . tight-
planked . . . strong ribbed . . . covered
with seamless, water-tight canvas. The
effortless stroke-stroke-stroke of a pad-
dle unfolds the glory of all outdoors.
Get an Old Town Canoe.

1934 Old Towns cost as little as $68.
Send for a free catalog, showing mod-
els and prices. Also sailing, sponson,
square-stern canoes and outboard boats.
Including big, fast seaworthy models
for family use. Rowboats. Dinghies.
Write today. Old Town Canoe Co.,
524 Main Street, Old Town, Maine.

'Old Town Canoes

Oh! How Different

It's so mild

• ■ so pleasant

■ • so kind to

the skin

DeWANS
HAIR

remover;

"NJOT just a

■*■' depilatory,
but a "miracle" of
beauty chemistry.
Think of it. A hair re-
mover that can be used on
the most tender face with-
out smarting... without even
"pinking" the skin . . . without making
a disagreeable odor. That's DeWANS
...and it means, simply, that you
don't have to tolerate a single un-
wanted hair a moment longer... on
your face. ..on your arms or legs.
DeWANS is $1 at the best drug and
department stores.

Look as Young as You Please

Restore Youth to Your Face

A Free booklet tells the secret. It tells
why Kathryn Murray's Five-Minute
*jl» Facial exercises are the modern natural
*r^ way to regain the charm of youth.
Simple exercises stimulate circulation
and brine natural bloom to your cheeks.
Crow's feet, wrinkles, double chin
soon disappear. You can look 5 to
10 years younger. Results as-
sured. Successfully used by 36.000
women. Get free book for details.
Address: Kathryn Murray. Inc.,
Suite 458, 5 S. Wabash, Chicago.

YOU WANT CUSS PINS-we have them—
any letters, any year, any colors. Silver
plated, 1 to 11, 35c ea; gold plated, 45c ea;
sterling, 50c ea. Silver plated, 12 or more,
30c ea; gold plated, 40c ea; Bterling, 45c ea.
Sterling silver rings as shown, lor more
$1.60 ea. Write For Free Catalogue.'

I Mc!a1ArtsCo.,lnc. Factory 58 Rochester, N.Y.

Cray Hair PENCIL

Instantly gives to GRAY HAIR De-
sirable Youthful Color. Sure
easy way to keep gray
from showing at roots,
^temples and parting. To
NOW 25 CENTS ^•^^■■■fi^ituirklv introduce BUEL
a full size Pencil for only 25c coin. Lasts months. State shade
BUEL CO.. 404 W. Erie St., Dept. A44, Chicago, III.

Clark Gable Cuts the Apron Strings

[ CONTINUED FROM PAGE 38 I

Originally it was bought for Garbo. When
Harlow was cast for it, it was re-shaped for her.
Then Gable was put in for Harlow to sharpen
her teeth on, so to speak.

In the past he has been cast so that the
women in the pictures could fight over him,
supplying an attractive background to set off
the feminine lead.

Clark never kidded himself. No one knew
these facts better than he; but his contract
was long and his salary continued, week after
week — freeing him from old worries and old
fears. If his parts were not to his liking, the
checks were, and he was willing to play second
fiddle for the security he felt.

Some said Clark wasn't fair to himself, or
to his public, in not demanding a chance to do
the things of which he felt capable — while
others marked him as smart for not bumping
his head against a stone wall.

PERHAPS the hard knocks of the past had
-*- been bad for Gable's confidence in himself — -
but, at any rate, he did string along, taking
what was given him with that boyish smile
that won so many friends — and fighting for
nothing at all.

All that, however, is a memory now.

Clark Gable has been shaken out of the
arms of the glamorous stars and put on his
own feet. He has cut the apron strings that
for years had bound him to minor parts, and
has pushed out into the sea of performance
where he will have to swim or sink. And, so
far, he has done a grand job of swimming.

Whether Clark would have dived in on his
own initiative is problematical. Many times
he has said that he prefers to play second to
stars, letting them bear the responsibility of
the picture's success, and often he has confessed
that the thought of carrying a picture alone
scares him. He always claimed he didn't want
to be a star; that he just wanted to play good
parts.

But Clark is likely to find it is too late to
turn back now — that his screen admirers won't
let him, since they've had a sample of what he
can do.

And his studio's response to this demand is
"Men In White," with Gable starring, sup-
ported by Myrna Loy, Jean Hersholt and
Elizabeth Allan — and the bringing in of Frank
Capra to direct Gable in "Soviet."

For Capra is largely responsible for the new
Gable — the Gable that will have as many men,
as he has women, followers.

TT all happened this way:
■*■ Columbia decided they would like to make
a picture with Robert Montgomery, and had a
story written for him — a story made to order
for his particular type of humor.

Then it came about that Columbia had its
choice of using Montgomery or Gable.

"Well," they debated, "Gable has done
nothing of late to rave about — but there's no
denying he has a way of drawing the women
into the theaters. Maybe it would be a good
idea to do a picture with him. Only if we do,
we'll have to write something with a good part
for a heavy lover in it — because he could never
handle the humor in the picture we've just
had written for Bob Montgomery."

Frank Capra had never heard Clark's plain-
tive little " Gee, I wish they'd let me do a
comedy," but, as he told me, he had often been
struck by the strong human character of
Gable.

"You could see it sticking out all over him,"
Capra said, "and I'd been playing with the
notion that I'd like to give him a chance to be
his real self, and to forget the heavy parts that
had been wished on him. So I said: 'Don't
change a line of that story and Gable will sur-
prise you.' "

That is the inside story of how Gable was
cast to the lead with Claudette Colbert in
"It Happened One Night." How fully he
justified Capra's confidence in him, all of you
who have seen the picture know.

His performance in that is rated as "top."
His handling of the comedy hitch-hiking scene
is classed as a "natural."

C^NLY the other day, Clark said to me, "I
^^hope my work in 'It Happened One Night,'
makes the picture-goers feel I ought to be
taken off the heavy lover roles and given some
good parts. I'm not asking to be starred. I
don't want that. I just want to get some good
parts, and not always have to play heavy
opposite a woman star."

So, men readers, playing hot love scenes with
Jean Harlow, Joan Crawford, et al., apparently
isn't all plum pudding, after all. At least one
man in America would rather do something
else.

Being "typed" in Hollywood is a serious
business — and it has handcuffed more than
one competent actor to subordinate parts.

"I knew I was 'typed' as the heavy lover,"
explains Clark, "but everybody seemed to
think I was so lucky being cast opposite stars
like Garbo and Shearer and Da vies and Craw-
ford, I didn't have the nerve to complain. I
would have been crazy to expect the studio to
write down the parts of such stars in order to
give me a chance to do something — so I just
went along."

And how Clark just "went along" is evident
in his part as stage manager in " Dancing
Lady," a part which even the studio itself
admitted had been milked white by Warner
Baxter in "42nd Street." After Baxter was
done with it there wasn't enough nourishment
left there to support a healthy extra.

But a stage manager was needed to build up
Joan Crawford's part, and Clark's "type" was
desirable for her to work on. So Gable it was.

If the feminine star needed a lover in the
form of a gambler, as did Norma Shearer in
"A Free Soul"; or in the garb of a minister, as
did Marion Davies in "Polly of the Circus";
or in the stripes of a jailbird, as did Jean Har-
low in "Hold Your Man," it was up to the
heavy sheik to fit in. And Clark Gable was
getting to be the "fittingest in" actor in all
Hollywood.

In casting him, no one ever said, "Now,
let's see, what sort of a part should we get for
Clark Gable?" Far from it. What he played
depended upon what type of character was
needed to round off the star's background.

But now, with other studios realizing this
natural "threat" (so far as the women are
concerned) has real acting ability, you can
expect to see parts fitted to Gable, instead of
seeing Gable whittled down to fit the parts.

And how does Clark feel about this sudden
about face of Hollywood's attitude regarding
him?

WE told you he was as natural and unas-
suming and boyish as anybody you could
ever hope to meet. To use an expression of
one of his friends: "There's not a swelled bone
in Clark's head." So you probably won't be
surprised to learn that when a day or two after
seeing the preview of "It Happened One
Night," Clark took the first opportunity to
thank Frank Capra. They chanced to meet on
one of Hollywood's main thoroughfares. Both
were in their cars — and the traffic was moving.

Leaning far over the edge of his own car,
Gable called his appreciation to the director —
and he didn't care if all Hollywood knew how
much gratitude he felt for the opportunity that
had been given him.

Clark has always believed that Hollywood
has been more than kind to him — and right

.»

Photoplay Magazine for April, 1934

now he's like a kid with a new toy. Just plain
tickled, and eager for another chance to show
his stuff.

That night at the preview, when "It Hap-
pened One Night" ran fourteen reels till mid-
night— with the audience so thoroughly en-
joying the new Gable and so heartily sharing
his adventures, that they never realized the
picture was some four reels over length — a new
confidence and a new ambition were born in
Clark. Not that he sees himself as a great star
now — far be that from one of Gable's modesty
— but he does feel pictures have more to offer
him than ever before.

Rudy Still Has His

^Vagabond Dreams

[ CONTINUED FROM PAGE 42

though I keep trying to tell myself that this
should not be so. I don't want to mistrust
everybody; it's a rotten way to go through
life. Yet, if you only knew the friends I
thought were real who have turned out to be
traitors, both in business and in my private
life, you could understand perhaps why I've
developed this slant on people.

"You see," he went on, and his eyes had
the hurt expression of a child who first dis-
covers there is no Santa Claus, "I'd always
hoped to find a girl who might be like my
mother; a girl who might have some domestic
instincts — to cook, to keep house, to sew a
little. She wouldn't have to do these things,
understand. But I'd like to know she could,
and would, if luck ever turned.

"I still say there are many fine girls in the
world, girls who would make splendid wives.
Except that I would be awfully careful, per-
haps very suspicious, and certainly I would
have to be very, very sure of the girl I would
fall in love with again."

"What quality, Rudy, would you place as
topmost on your 'ideal' requirements, now?"
I asked him.

He looked a little abashed, got up and
walked around the room a few moments, then
sat down again. Perhaps he wasn't going to
answer that one.

"Fidelity? Loyalty?" I prompted.

"' I 'HAT, a man takes for granted. I mean,

-*- when a girl shows you she cares by her ges-
tures of affection; when a man is convinced a
girl has singled him out as the important person
in her life, you'd naturally take it for granted
that she'd stand by in the face of temptation."

" What then? What are the specifications
for this ideal girl now?"

"Physical attractiveness, first," Rudy an-
swered. "I suppose that shouldn't be. But
it's the way I feel about it."

Well, that's no change from his 1929 list, so
far.

"Men have a way of idealizing the women
they love, I suppose. To others, she may be
very plain — nothing at all to rave about. But
to one man, she is the acme of perfection. A
perfect blending of beauty and personality."

Amplifying his requirements in 1929, Rudy
says:

" I'd like for the girl to be companionable
and sympathetically understanding in the face
of obstacles and difficulties."

Gossips have speculated that Alice Faye
might be Rudy's new dream girl. These
rumors he denies emphatically.

There is something ironic about Vallee and
his search for his ideal girl. If he had stayed
in the little New England town where he was
born, he might have found her there. But,
today, he is a national figure. He can stand
before a microphone and broadcast to the
world a description of the girl he wants. His
requirements have been printed, read, dis-
cussed. But he can't find her.

'Ethel dear

. . you've been hanging to mother's skirts all day, I can't
imagine why she's so listless, Mrs. Ross."

'Often constipation makes children like that, Mrs. Green. Remember

that droopy spell Jackie had? I gave him a laxative — Fletcher's

Castoria — it was all he needed !"

"Doesn't Ethel look bright and happy today, Mrs. Ross? I followed
your advice and gave her some Fletcher's Castoria last night."

"Fine! Fletcher's Castoria is a wonderful laxative for children. It's made
especially for them. It's gentle, doesn't have any harsh drugs in it. These
strong drugs are what make most laxatives so harmful for children. And
Castoria has such a pleasant taste! And when you buy it, always look
for the signature, Chas. H. Fletcher on the carton!"

i^ST CASTORIA

The children's laxative

• from babyhood to 11 years •

For the many occasions, mother, when children need a laxative — use Chas. H. Fletcher's
Castoria. From babyhood on, it is your best "first-aid"' for colic due to gas, for diar- ^*.R
rhoea due to improper diet, for sour stomach, flatulence, acid stomach. And every
mother knows that a laxative is any doctor's first advice for treating a cold!

Casts of Current Photoplays

Complete for every picture reviewed in this issue

"AS THE EARTH TURNS"— Warners— From
the story by Gladys Hasty Carroll. Screen play by
Ernest Pascal. Directed by Alfred E. Green. The
cast: Jen, Jean Muir; Stan, Donald Woods; Margaret,
Emily Lowry; Ollic, William Janney; Mark Shaw,
David Landau; Mil Shaw, Dorothy Peterson; Doris,
Dorothy Appleby; Mrs. Janowski, Sarah Padden;
Cora Shaw, Clara Blandick; Mr. Janowski, Egon
Brecher; Ed, Russell Hardie; John Shaw, Wally
Albright; Junior Shaw, George Billings; Esther,
Marilyn Knowlden; Louise, Gloria Fisher; Maria,
Cora Sue Collins; Betty, Javir Gibbons; Sister, Joyce
Kay; George Shaw, Arthur Holil; Manuel, David
Durand.

" BEFORE MIDNIGHT" — Columbia. — From
the story by Robert Quigley. Directed by Lambert
Hillyer. The cast: Trent, Ralph Bellamy; Janet,
June Collyer; Fry, Claude Gillingwater; Stubby,
George Cooper; Mavis, Betty Blythe; Doctor, Arthur
Pierson; Smith, Bradley Page; Kono, Otto Yamaoka;
Capl. Flynn, Joseph Crehan; Arnold, William Jeffrey.

"BOLERO" — Paramount. — From the story by
Carey Wilson and Kubec Glasmon. Screen play by
Horace Jackson. Directed by Wesley Ruggles. The
cast: Raoul De Baere, George Raft; Helen, Carole
Lombard; Annette, Sally Rand; Leona, Frances
Drake; Mike De Baere, William Frawley; Lord Coray,
Raymond Milland; Lucy, Gloria Shea; Lady, Ger-
trude Michael; Theater Manager, Dell Henderson;
Hotel Manager, Frank Dunn; Belgian Landlady,
Martha Baumattre; Bailiff, Paul Panzer; Beer
Garden Manager, Adolph Milar; Young Matron, Ann
Shaw; Leona's Angel, Phillips Smalley; Porter, John
Irwin.

"CAROLINA"— Fox.— From the story "The
House of Connelly" by Paul Green. Screen play by
Reginald Berkeley. Directed by Henry King. The
cast: Joanna, Janet Gaynor; Bob Connelly, Lionel
Barrymore; Will Connelly, Robert Young; Mrs.
Connelly, Henrietta Crosman; Allen, Richard Crom-
well; Virginia, Mona Barrie; Scipio, Stepin Fetchit;
Richards, Russell Simpson; Harry, Ronnie Cosbey;
Jackie, Jackie Cosbey; Geraldine, Almeda Fowler;
Jack Hampton, Alden Chase; Jefferson Davis, Roy
Watson; Gen. Robert E. Lee, John Elliott; Gen.
"Stonewall" Jackson, John Webb Dillion; Gen.
Leonidas Polk, J. C. Fowler; Gen. Beauregard, Andre
Cheron.

"CAT AND THE FIDDLE, THE"— M-G-M.—
From the play by Jerome Kern and Otto Harbach.
Screen play by Bella and Samuel Spewack. Directed
by William K. Howard. The cast: Victor, Ramon
Novarro; Shirley, Jeanette MacDonald; Daudet,
Frank Morgan; Charles, Charles Butterworth; Pro-
cessor, Jean Hersholt; Odette, Vivienne Segal; Theater
Owner, Frank Conroy; Taxi Driver, Henry Armetta;
Concierge, Adrienne D'Ambricourt; Rudy, Joseph
Cawthorn.

"CATHERINE THE GREAT"— London Film-
United Artists. — From the story by Lajos Biro,
Arthur Wimperis and Melchior Lengyel. Directed
by Paul Czinner. The cast: Grand Duke Peter,
Douglas Fairbanks, Jr.; Catherine, Elizabeth Bergner;
Empress Elizabeth, Flora Robson; Lecocq, Gerald du
Maurier; Princess Anhalt-Zerbst, Irene Vanbrugh;
Katushienka, Joan Gardner; Countess Olga, Dorothy
Hale; Countess \'oronlzova, Diane Napier; Grigory
Orlov, Clifford Jones; Bcstujhev, Gibb MacLaughlin;
Ogarev, Clifford Heatherley.

"COMING OUT PARTY"— Fox.— From the
story by Becky Gardiner and Gladys Unger. Screen
play by Gladys Unger and Jesse Lasky, Jr. Directed
by John Blystone. The cast: Joy Stanhope, Frances
Dee; Chris Hansen, Gene Raymond; Miss I under dee,
Alison Skipworth; Troon, Nigel. Bruce; Harry Gold,
Harry Green; Mr. Stanhope, Gilbert Emery; Mrs.
Stanhope, Marjorie Gateson; Jimmy Wolverton,
Clifford Jones; Nora, Jessie Ralph; Louise, Germaine
de Neel.

"DEATH TAKES A HOLIDAY"— Paramount.
— From the play "Death Takes a Holiday" by
Alberto Casella. Screen play by Maxwell Anderson
and Gladys Lehman. Directed by Mitchell Leisen.
The cast: Prince Sirki, Fredric March; Grazia,
Evelyn Venable; Duke Lambert, Sir Guy Standing;
Alda, Katherine Alexander; Rhoda, Gail Patrick;
Stephanie, Helen Westley; Princess Maria, Kathleen
Howard; Corrado, Kent Taylor; Baron Cesar ea,
Henry Travers; Eric, G. P. Huntley, Jr.; Fedele,
Otto Hoffman; Doctor Vallc, Edward Van Sloan;
Pielro, Hector Sarno; Vendor, Frank Yaconelli;
Maid, Anna De Linsky.

"DEVIL TIGER"— Fox.— From the story by
James O. Spearing. Directed by Clyde E. Elliott.
The cast: Mary Brewster, Marion Burns; Robert
Eller, Kane Richmond; Ramsaye Doyle, Harry Woods;
Ah Lee, Ah Lee; Remain Satan, The Devil Tiger.

"EASY TO LOVE" — Warners.— From the story
by Thompson Buchanan. Screen play by Carl
Erickson, David Boehm and Manuel Seff. Directed
by William Keighley. The cast: Carol, Genevieve
Tobin; John, Adolphe Menjou; Charlotte, Mary Astor;
Justice of the Peace, Guy Kibbee; Eric, Edward

Everett Horton; Janet, Patricia Ellis; Detective, Hugh
Herbert; Andrews, Robert Greig; Paul, Paul Kaye;
Clerk, Hobart Cavanaugh; Elevator Boy, Harold
Waldridge.

"EVER SINCE EVE"— Fox.— From the play
"The Heir to the Hoorah" by Paul Armstrong.
Screen play by Henry Johnson and Stuart Anthony.
Directed by George Marshall. The cast: Neil Rogers,
George O'Brien; Elizabeth Vandegrifl, Mary Brian;
Horace Saunders, Herbert Mundin; Mrs. Vandegrifl,
Betty Blythe; Dave Martin, Roger Imhof ; Jim Wood,
Russell Simpson; Phillip Baxter, George Meeker.

"GHOUL, THE"— Gaumont British.— From the
the story by Dr. Frank King and Leonard Hines.
Screen play by Roland Pertwee and John Hastings
Turner. Directed by T. Hayes Hunter. The cast:
Prof. Morlanl, Boris Karloff; Broughton, Cedric
Hardwicke; Laing, Ernest Thesiger; Belly Harl<m\
Dorothy Hyson; Ralph Morlanl, Anthony Bushell;
Kaney, Kathleen Harrison; Aga Ben Dragore, Harold
Ruth; Mahoud, D. A. Clarke-Smith; Nigel Hartley,
Ralph Richardson.

"GIRL IN THE CASE, THE"— Screen Art
Prod. — From the story by Dr. Eugene Franke.
Directed by Dr. Eugene Franke. The cast: Jimmy
Savo, Dorothy Darling, Eddie Lambert, Si Jenks,
Arthur Loff.

"GOOD DAME" — Paramount. — From the story
by William R. Lipman. Screen play by William R.
Lipman, Vincent Lawrence, Frank Partos and Sam
Hellman. Directed by Marion Gering. The cast:
Lillie Taylor, Sylvia Sidney; Mace Tcrwnsley, Fredric
March; Bluch Brown, Jack LaRue; Puff Warner,
Noel Francis; "Spats" Edwards, Russell Hopton;
Regan, Bradley Page; Fallon, Guy Usher; Zandra,
Kathleen Burke; Scanlon, Joseph J. Franz; Cora,
Miami Alvarez; Elmer Spicer, Walter Brennon;
Judge Goddard, John Marston; Mr. Hill, James
Crane; Judge Flynn, William Farnum; Emily,
Patricia Farley; Slclla, Florence Dudley; Rose, Jill
Dennett; Mae, Erin La Brissoniere; Pete, Ernest S.
Adams; Nick, Dewey Robinson; Chauffeur, Gary
Owen; Mrs. Crosby, Helene Chadwick; Mrs. Hill,
Cecil Weston; Barker, Jack Baxley; Man in Hotel
Room, Edward Gargan; Assistant Supt., Kenneth
McDonald; Cop, Wade Boteler.

"HI, NELLIE!"— Warners. — From the story by
Roy Chanslor, Screen play by Abem Finkel and
Sidney Sutherland. Directed by Mervyn LeRoy.
The cast: Brad, Paul Muni; Gerry, Glenda Farrell;
Harvey Dawes, Douglas Dumbrille; Browncll, Robert
Barrat; Shammy, Ned Sparks; Fullerton, Hobart Cav-
anaugh; Sue, Pat Wing; O'Connell, Edward Ellis;
Sheldon, George Meeker; Graham, Berton Churchill;
Louie, Sidney Miller; Evans, James Donlan; Danny,
George Chandler; Dwyer, Milton Kibbee; Mrs. Can-
field, Marjorie Gateson; Durkin, Donald Meek; Grace,
Kathryn Sergava; Nathan, Frank Reicher; Rosa,
Dorothy Libaire; Leo, Harold Huber; Hcllwig, Paul
Kaye; Nick, Allen Vincent; Marinello, George Hum-
bert.

"IT HAPPENED ONE NIGHT"— Columbia.—
From the story by Samuel Hopkins Adams. Screen
play by Robert Riskin. Directed by Frank Capra.
The cast: Peter Warne, Clark Gable; Ellie Andrews,
Claudette Colbert; Alexander Andrews, Walter Con-
nolly; Shapeley, Roscoe Karns; King Westley, Jame-
son Thomas; Danker, Alan Hale; Bus Driver, Ward
Bond; Bus Driver, Eddie Chandler.

"I'VE GOT YOUR NUMBER"— Warners.—
From the story by Warren Duff and Sidney Suther-
land. Directed by Ray Enright. The cast: Terry,
Pat O'Brien; Marie, Joan Blondell; John, Allen Jenk-
ins; Flood, Eugene Pallette; Dooley, Hobart Cav-
anaugh; Schuyler, Henry O'Neill; Nicky, Gordon
Westcott; Bonnie, Glenda Farrell; Chrystal, Louise
Beavers; Loretta, Renee Whitney; Joe, Selmer Jack-
son; Turk, Robert Ellis; Kirkland, Henry Kolker;
Madison, Wallis Clark; Turner, Douglas Cosgrove;
Ed, Tom Costello; Welch, Charles Wilson.

" I WAS A SPY "— Fox-Gaumont British.— From
the story by Martha McKenna. Directed by Victor
Saville. The cast: Martha Cnockhaerl, Madeleine
Carroll; Stephan, Herbert Marshall; The Command-
ant, Conrad Veidt; The Doctor, Gerald Du Maurier;
The Burgomaster, Edmund Gwenn; Cnockhaerl, Don-
ald Calthrop; Canteen Ma, Eva Moore; Scollie, Nigel
Bruce; Madame Cnockhaerl, May Agate; Aunt Lu-
cille, Martita Hunt; Captain Rcichmann, George Mer-
ritt; Olio, Anthony Bushell.

"KEEP 'EM ROLLING"— RKO-Radio.— From
the story "Rodney" by Leonard Mason. Screen play
by Albert Shelby LeVino. Directed by George Ar-
chainbaud. The cast: Benny Walsh, Walter Huston;
Marjorie, Frances Dee; Julie, Minna Gombell; Deane,
Frank Conroy; Randall, George Pat Collins; Major
Parker, Robert Shayne; Corbelt, Ralph Remley.

"LEGONG" — Bennett Picture Corp. — From
the story by Henry de la Falaise. Directed by Henry
de la Falaise. Photographed by William Howard
Green. The cast: The Girl, Poutou; Her Father,

Bagus; Her Half-Sisler, Saplak; Nyong-Nyong, Ny-
ong-Nyong.

"LOOKING FOR TROUBLE"— 20th Century-
United Artists. — -From the story by J. R. Bren.
Screen play by Leonard Praskins and Elmer Harris.
Directed by William Wellman. The cast: Joe Graham,
Spencer Tracy; Ethel, Constance Cummings; Casey,
Jack Oakie; Dan, Morgan Conway; Mazie, Arline
Judge; Pearl, Judith Wood; Regan, Paul Harvey;
Max, Joseph Sauers; Martin, Franklyn Ardell.

"LOST PATROL, THE"— RKO-Radio.— From
the story "Patrol" by Philip MacDonald. Screen
play by Dudley Nichols. Directed by John Ford.
The cast: Sergeant, Victor McLaglen; Sanders, Boris
Karloff; Morelli, Wallace Ford; Brown, Reginald
Denny; Quincannon, J. M. Kerrigan; Hale, Billy
Bevan; Cook, Alan Hale; Bell, Brandon Hurst; Pear-
son, Douglas Walton; Abelson, Sammy Stein; Aviator,
Howard Wilson; Mackay, Paul Hanson.

"LOVE BIRDS"— Universal.— From the story
by Clarence Marks and Dale Van Every. Screen play
by Doris Anderson. Directed by William Seiter.
The cast: Henry Whipple, Slim Summerville; Ara-
minta Tottle, ZaSu Pitts; Gladwyn Tollle, Mickey
Rooney; Barbwire, Frederick Burton; Forbes, Emmet
Vogan; Kilten, Merna Kennedy; Madam Bertha,
Maude Eburne; Bus Driver, Hugh Enfield; Janitor,
Arthur Stone; Teacher, Ethel Mandell; Burlesque
Girl, Gertrude Short; Blewilt, Clarence H. Wilson.

"LUCKY TEXAN, THE"— Monogram.— From
the story by R. N. Bradbury. Directed by R. N.
Bradbury. The cast: Jerry Mason, John Wayne;
Belly, Barbara Sheldon; Jake Benson, George Hayes;
Harris, Lloyd Whitlock; Cole, Yakima Canutt; Sher-
iff, Gordon DeMain; Sheriff's Son, Edward Parker;
Banker, Earl Dwire.

"MANDALAY"— First National.— From the
story by Paul Hervey Fox. Screen play by Austin
Parker and Charles Kenyon. Directed by Michael
Curtiz. The cast: Tanya, Kay Francis; Tony Evans,
Ricardo Cortez; Nick, Warner Oland; Dr. Gregory
Burton, Lyle Talbot; Mrs. Peters, Ruth Donnelly;
Police Ca plain, Reginald Owen; Purser, Hobart Cav-
anaugh; Captain, David Torrence; The Countess,
RafaelaOttiano; Col. Dawson Ames, Halliwell Hobbes;
Mr. Abernathie, Etienne Girardot; Mr. Peters, Lucien
Littlefield; Mrs. Kleinsclimidl, Bodil Rosing; Mr.
Kleinschmidl, Herman Bing; Mr. Warren, Harry C.
Bradley; Ram Singh, James B. Leong; Belly Shaw,
Shirley Temple; Louisa Mae Hairington, Lillian Har-
mer; Van Brinker, Torben Meyer.

"MEN IN WHITE"— M-G-M.— From the play
by Sidney Kingsley. Screen play by Waldemar
Young. Directed by Richard Boleslavsky. The cast:
Dr. George Ferguson, Clark Gable; Laura, Myrna Loy;
Dr. Hochberg, Jean Hersholt; Barbara, Elizabeth Al-
lan; Dr. Levine, Otto Kruger; Dr. Cunningham, C.
Henry Gordon; Dr.Michaelson, Russell Hardie; Shorty,
Wallace Ford; Dr. McCahe, Henry B. Walthall; Pele,
Russell Hopton; Dr. Gordon, Samuel S. Hinds; Dr.
\ilale, Frank Puglia; Dr. Wren, Leo Chalzel; Mac,
Donald Douglas.

"MORNING AFTER, THE"— British Inter-
national.— From the story by Fred Thompson.
Screen play by Arthur Woods. Directed by Allan
Dwan. The cast: Wally, Ben Lyon; Olga, Sally Eilers;
Taxi Driver, Harry Tate; He/r Doklor, H. F. Maltby;
Agent N. B. G-, Harold Warrender; Agent M. N. T.,
Dennis Hoey; Agent K. P. 0., Henry Victor; Com-
manding Officer, Andrews Englemann.

"MURDER ON THE CAMPUS" — Chester-
Field. — From the novel "The Campanile Murders"
by Whitman Chambers. Screen play by Andrew
Moses. Directed by Ric'.ard Thorpe. The cast:
Lillian Voyne, Shirley Grey; Bill Barllelt, Charles
Starrett; Capl. Ed Kyne, J. Farrell MacDonald; Ann
Michaels, Ruth Hall; Prcf. C. Edson Hawley, Edward
Van Sloan; Blackie Atwaler, Maurice Black; Charlie
Lorimcr, Dewey Robinson; Hilda Lund, Jane Keckley.

"MYSTERY LINER"— Monogram.— From the
story "The Ghost of John Holling" by Edgar Wal-
lace. Adapted by Wellyn Totman. Directed by
William Nigh. The cast: Capl. Holling, Noah Beery;
Lila, Astrid Allwyn; Cliff, Cornelius Keefe; Von Kess-
ling, Gustav Von Seyffertitz; Major Pope, Edwin
Maxwell; Crimson, Ralph Lewis; Downey, Boothe
Howard; Watson, John Maurice Sullivan; Bryson,
Gordon DeMain; Granny, Zefne Tilbury; Dr. Howard,
Howard Hickman; Edgar, Jerry Stewart; Watchman,
George Hayes; Simtns, George Cleveland; Crimson's
Asst., Olaf Hytten; His Excellency, Ray Brown;
Waiter, George Nash.

"NO MORE WOMEN" — Paramount. — From
the story by Delmer Daves and Grant Leenhouts.
Screen play by Delmer Daves and Lou Breslow.
Directed by Albert Rogell. The cast: Three Time,
Edmund Lowe; Forty Fathom, Victor McLaglen;
Helen Young, Sally Blane; Annie Fay, Minna Gem-
bell; Big Pants, Christian Rub; Captain Brent, Al-
phonse Ethier; Greasy, Tom Dugan; Iceberg, Harold
Huber; Oscar, William Franey; The Hawk, J. P.
McGowan; Brownie, Frank Moran.

12k

Photoplay Magazine for April, 1934

I25

"ONCE TO EVERY WOMAN "—Columbia.—

From the story by A. J. Cronin. Screen play by Jo
Swelling. Directed by Lambert Hillyer. The cast:
\y, Ralph Bellamy; Mary Fanshawe, Fay Wray;
Dr. Selby. Walter Connolly; Dons Andros, Mary
Carlisle; Preston, Walter Byron; Flannigan, J. Farrell
MacDonald; Number Five, Billie Seward; Jeff, Georgia
Caine; Mrs. Flannigan, Katherine Claire Ward; Miss
Baxter, Mary Foy; Joe, Ben Alexander; Gail Drake,
Rebecca Wassam; Sally, Leila Bennett; Mrs. Wood,
Jane Darwell; Baxter's Sister, Nora Cecil; Priest,
Edward Le Saint.

"SIX OF A KIND" — Paramount. — From the
story by Keene Thompson. Screen play by Walter
DeLeon and Harry Ruskin. Directed by Leo Mc-
Carey. The cast: J. Phikham Whinney, Charles
Ruggles; Flora Whinney, Mary Boland; Sheriff John
Hoxley, W. C. Fields; George Edward, George Burn.;
Gracie Devore, Grade Allen; Mrs. K. Rumford, Alia n
Skipworth; Ferguson, Bradley Page; Trixie, Grace
Bradlev; Gillette, William J. Kelly; Sparks, James
Burke; Steele, Dick Rush; Butch. Walter Long; Mike,
Leo Willis; Joe, Lew Kelly; Tom, Alf P. James; Dr.
Busby, Tammany Young; Clerk in Newspaper Office,
Phil Tead; Tourist, George Pearce; Girl Clerk, Yorna
Hillie; Tourist's Wife, Florence Enright; Cop, William
Augustin; Woman, Kathleen Burke.

"SIXTEEN FATHOMS DEEP"— Monogram —
From the story by Eustace L. Adams. Directed by
Armand Schaefer. The cast: Rosie, Sally O'Neil; Joe,
Creighton Chaney; Savanis, George Rigas; Nick,
Maurice Black; Mike, Jack Kennedy; Old Athos,
Lloyd Ingraham; Young Athos, George Nash; Cimos,
Robert Kortman; Sculpin, Si Jenks; Kargas, Con-
stantine Romanoff; Martin, Richard Alexander; Croi fe-
ed, Russell Simpson; Aleck, Philip Kieffer; Goraon,
Jean Gehrung; Chinchin, Raul Figarola.

"SLEEPERS EAST"— Fox.— From the story by
Frederick Xebel. Screen play by Lester Cole. Di-
rected by Kenneth MacKenna. The cast: Lena
Karelson, Wynne Gibson; Everett Jason, Preston Fos-
ter; Ada Robillard, Mona Barrie; Martin Knox, Har-
yey Stephens; MacGowan, Roger Imhof; Carl Izzard,
J. Carrol Naish; Jack Wentworlh, Howard Lally;
Dixie, Suzanne Kaaren; Traulwein, Jed Prouty.

"SPITFIRE" — RKO-R\dio.— From the play
"Trigger" by Lula Vollmer. Screen play by Jane
Murnn and Lula Vollmer. Directed by John Crom-
well. The cast: Trigger, Katharine Hepburn; J.
Stafford, Robert Young; G. Fleetwood, Ralph Bellamy;
Eleanor Stafford, Martha Sleeper; Mr. Sawyer, Sidney
Toler; Bill Grayson, Louis Mason; Etta Dawson, Sarah
Haden; Granny Raines, Virginia Howell; West Fry,
High Ghere; Mrs. Sawyer, Therese Wittier.

"STRAIGHTAWAY" — Columbia. — From the
story by Lambert Hillyer. Directed by Otto Brower.
The cast: "Tim" Dawson, Tim McCoy; Ann Reeves,
Sue Carol; Billy Dawson, William Bakewell; "Hobo,"
Ward Bond; Rogan, Francis McDonald.

"THIS SIDE OF HEAVEN"— M-G-M.— From
the novel "It Happened One Day" by Marjorie Bar-
tholomew Paradis. Adapted by Zelda Sears and Eve
Green. Directed by William K. Howard. The cast:
Martin Turner, Lionel Barrymore; Francene Turner,
Fay Bainter; Jane Turner, Mae Clarke; Seth Turner,
Tom Brown; Birdie, Una Merkel; Peggy Turner,
Mary Carlisle; Walter, Onslow Stevens; Hal, Henry
Wadsworth; Vance, Eddie Nugent; William Barnes,
C. Henry Gordon; Freddie, Dickie Moore.

"VIVA VILLA!"— M-G-M.— From the story by
Edgcumb Pinchon and O. B. Stade. Screen play by
Ben Hecht. Directed by Jack Conway. The cast:
Pancho Villa, Wallace Beery; Sierra, Leo Carrillo;
Teresa, Fay Wray; Don Felipe, Donald Cook;
Johnny, Stuart Erwin; Emilio Chavilo, George E.
Stone; General Pascal, Joseph Schildkraut; Rosila,
Katherine De Mille; Pancho Villa (boy), Phillip
Cooper; Villa's Father, Frank Puglia; Madero, Henry
B. Walthall; Bugler Boy, David Durand; Calloway,
Francis X. Bushman, Jr.; Mendoza Printers, Adrian
Rosley, Henry Armetta.

"WOMAN UNAFRAID"— Goldsmith Prod.—
From the story by Mary E. McCarthy. Directed by
William J. Cowen. The cast: Officer Winthrop, Lu-
cille Gleason; Anthony, Richard "Skeets" Gallagher;
Peggy, Lona Andre; John, Warren Hymer; Mary,
Barbara Weeks; Mrs. Worthington, Laura Treadwell;
Mack, Eddie Phillips; Big Bill Lewis, Jason Robardv
Tate, Ruth Clifford; Brady, Richard Elliott; Gladys,
Erin La Brissoniere; Norma, Julie Kingdon; Evelyn,
Joyce Coad; Theodore, Baby Waring.

"WONDER BAR"— First National.— From the
play by Karl Farkas and Geza Hercveg. Screen play
by Earl Baldwin. Directed by Lloyd Bacon. The
cast: Al Wonder, Al Jolson; Tommy, Dick Powell;
Harry, Ricardo Cortez; Liane Renaud, Kay Francis-
Ynez. Dolores Del Rio; Pratt, Hugh Herbert; Simp-
son, Guy Kibbee; Mrs, Simpson, Ruth Donnelly;
Mitzi, Fifi Dorsay; Dancer, Hal LeRoy.

"YOU CAN'T BUY EVERYTHING"— M-G-M.
— From the story by Dudley Nichols and Lamar
Tn>tti. Adapted by Zelda Sears and Eve Green.
Directed by Charles Reisner. The cast: Hannah,
May Robson; Elizabeth, Jean Parker; Burton, Lewis
Stone; Kale, Mary Forbes; Dr. Larimer, Reginald
Ma* .n; Donny, William Bakewell; Donny (bov). Tad
Alexander; Flagg, Walter Walker; Sparks, Reginald
Barlow; Banker, Claude Gillingwater.

Read this

A Startling New Development

now makes coloring gray hair

no more trouble than a manicure! No more costly than a jar of good

face cream! Yet transforms gray hair with youthful lustre . . . We invite you to

TEST IT FREE in 10 short minutes on a single lock from your hair. . . Read

this unusual news. Then mail the coupon and find real freedom from gray.

Now, in an unheard of short space of
time, you can transform the gray in
your hair into youthful lustre and
loveliness. You can start this morn-
ing and before evening the gray in
your hair will be gone. You can do it
easily, quickly, yourself at home. No
experience needed. No "skin -test"
required. Medical authorities pro-
nounce it SAFE — harmless to hair
and scalp.

Just the three simple steps above
are necessary. No delay or waiting
except for the hair to dry.

No matterwhat the natural color of
your hair, (black, brown, auburn,
reddish, or blonde) Mary T. Gold-
man's new method
blends with natu-
ral shade so evenly

that detection need never be feared.
It will not wash out, fade, nor rub ofF
on clothing and linens. You can
wave or curl your hair just as always.

This new method was developed by a lead-
ing scientist after special research. His results
place gray hair coloration on an entirely new
plane. You are not asked to take our word for
it, nor to believe a single statement in this
advertisement without a fair, free trial.

Send us the coupon below. We will supply you
FREE with a sufficient quantity in an unmark-
ed package to test on a small lock snipped from
your hair. You can judge the results for yourself.

If you prefer, your druggist or department
store can supply you with the full-sized bottle
for complete treatment. Money-back guarantee.

Mail the coupon now. The day you receive your
FREE Single LockTest Package, you will realize
that your gray hair problem is ended for good.

Vucdtimcitfu

COLOR FOR J GRAY HAIR
FOR FREE TEST PACKAGE

MARY T. GOLDMAN ' t 2493 Goldman Bldg. * St. Paul, Minn.
Please send me your FREE Single Lock Test Package as checked below.

State

I I Biack O Medium Brown |~1 Auburn and Reddish
I I Dark Brown LJ Light Brown \_\ Blonde

I CHECK COLOR
OF HAIR v* •

[ 26

Photoplay Magazine tor April, 1934

The Hermitage, near Nashville, Homestead of President Andrew Jackson

HOLLYWOOD FASHIONS

are sold exclusively by

The new "Hollywood Shop" in the Store ofhoveman, Berger & Teitlebaum

IP IN O TO IP LAY MAGAZINE

919 North Michigan Avenue Chicago, Illinois

In Association with WAKEFIELD & O'CONNOR, INC.

As traditionally a part
of the South, old and
new, as the beloved
Hermitage, homestead
of President Andrew-
Jackson, is the proud
store of Loveman, Ber-
ger & Teitlebaum in
Nashville, Tennessee.

4m.

And it is significant that the
smart Young Moderns of
Nashville, today, look as
expectantly to that splendid
institution for PHOTOPLAY'S
"Hollywood Fashions" as
did their great grandmoth-
ers for the quaint "high
fashions" of Civil War days!

As in Nashville, so in Chicago, so
in Birmingham ... in Boston ... in
Los Angeles! Only in PHOTO-
PLAY will you find authentic
previews of these fascinating
costumes; only in stores of recog-
nized leadership can you buy
faithful copies of the smartest
clothes designed for your fa-
vorite motion picture actresses !

///f-a

Photoplay Magazine for April, 1934

Addresses of the Stars

127

Hollywood, Calif.

Paramount Studios

Brian Aherne
Judith Allen
Lona Andre
Richard Arlen
George Barbier
Mary Boland
Grace Bradley
Carl Brisson
Burns and Allen
Kitty Carlisle
Marguerite Churchill
Claudette Colbert
Gary Cooper
Larry "Buster" Crabbe
Bing Crosby
Alfred Delcarabre
Dorothy Dell
Marlene Dietrich
Maxine Doyle
Frances Drake
W. C. Fields
William Frawley
Barbara Fritchie
Frances Fuller
Paul Gerrits
Gwenllian Gill
Cary Grant
Charlotte Henry
Verna Hillie
Miriam Hopkins
Roscoe Karns
Percy Kilbride
Charles Laughton

Baby LeRoy
John Davis Lodge
Carole Lombard
Ida Lupinn
Helen Alack
Julian Madison
Joan Marsh
Herbert Marshall
Ethel Merman
Gertrude Michael
Jack Oakie
Gail Patrick
George Raft
Sally Rand
Lyda Roberti
Lanny Ross
Jean Rouverol
Charlie Ruggles
Randolph Scott
Clara Lou Sheridan
Barbara Shields
Sylvia Sidney
Alison Skipworth
Sir Guy Standing
Colin Tapley
Kent Taylor
Eldred Tidbury
Evelyn Venable
Mae West
Dorothea Wieck
Dorothy Wilson
Toby Wing
Elizabeth Young

Fox Studios, 1401 N. Western Ave.

Rosemary Ames
Heather Angel
Lew Ay res
Jane Barnes
Mona Barrie
Warner Baxter
John Boles
Clara How
Charles Boyer
Nigel Bruce
Madeleine Carroll
Joe Cook

Henrietta Crosman
James Dunn
Sally Eilers
Charles Farrell
Alice Faye
Peggy Fears
Stepin Fetchit
Norman Foster
Preston Foster
Ketti Gallian

Henry' Garat
Janet Gaynor
Lilian Harvey
Rochelle Hudson
Roger Imliof
Miriam Jordan
Victor Jon-
Suzanne Kaaren
Howard Lally
Frank Melton
Herbert Mundin
Pat Paterson
Wil! Rogers
Raul Roulien
Wini Shaw
Sid Silvers
Snirley Temple
Spencer Tracy
Claire Trevor
Blanca Vischer
June Vlasek
Hugh Williams

RKO-Radio Pictures, 780 Gower St.

Fred Astaire
Nils Asther
Ralph Bellamy
Joan Bennett
El Brendel
June Brewster
Clive Brook
Tom Brown
Bruce Cabot
Mowita Castanada
Ada Cavell
Chick Chandler
Alden Chase
Jean Connors
Frances Dee
Dolores Del Rio
Richard Dix
Irene Dunne
Skeets Gallagher
William Gargan

Wynne Gibson
Ann Harding
Katharine Hepburn
Dorothy Jordan
Pert Kelton
Edgar Kennedy
Francis Lederer
Dorothy Lee
Eric Linden
Joel McCrea
Colleen Moore
Ginger Rogers
Robert Shayne
Adele Thomas
Thelma Todd
Nydia Westman
Bert Wheeler
Thelma White
Howard Wilson
Robert Woolsey

United Artists Studios, 1041 N. Formosa
Ave.

Eddie Cantor
Charles Chaplin
Ronald Colman

Douglas Fairbanks
Mary Pickford
Anna Sten

20th Century Studios, 1041 N. Formosa
Ave.

Judith Anderson
George Arliss
Janet Beecher
Constance Bennett
Constance Cummings
Arline Judge

Paul Kelly
Fredric March
Blossom Seeley
Judith Wood
Loretta Young

Columbia Studios, 1438 Gower St.

Walter Connolly
Donald Cook
Richard Cromwell
Jack Holt
Elissa Landi
Edmund Lowe
Tim McCoy

Grace Moore
Jessie Ralph
Gene Raymond
Joseph Schildkraut
Billie Seward
Ann Sothern
Fay Wray

Culver City, Calif.

Hal Roach Studios

Charlev Chase

Billy Gilbert
Oliver Hardv
Patsy Kelly
Stan Laurel
Dorothy Layton

Lillian Moore
Billy Nelson
Our Gang
Nena Ouartaro
Oliver Wakefield

Metro-Goldwyn-Mayer Studios

Katherine Alexander
Elizabeth Allan
Agnes Anderson
John Barrymore
Lionel Barrymore
Wallace Beery
Alice Brady
Charles Butterworth
Mary Carlisle
Ruth Channing
Maurice Chevalier
Mae Clarke
Jackie Cooper
Joan Crawford
Marion Davies
Marie Dressier
Jimmy Durante
Nelson Eddy
Stuart Erwin
Madge Evans
Muriel Evans
Clark Gable
Joan Gale
Greta Garbo
C. Henry Gordon
Russell Hardie
Jean Harlow
Helen Haves
Ted Healy
Jean Hersholt
Irene Hervey
Phillips Holmes
Jean Howard

Art Jarrett
Isabel Jewell
Otto Kruger
Jay Lloyd
Myrna Loy
Jeanette MacDonald
Margaret McConnell
Florine McKinney
LTna Merkel
Robert Montgomery
Polly Moran
Frank Morgan
Karen Morley
Ramon Xovarro
Maureen O'Sullivan
Earl Oxford
Jean Parker
Nat Pendleton
Esther Ralston
May Robson
Shirley Ross
Ruth Selwyn
Norma Shearer
Martha Sleeper
Mona Smith
Lewis Stone
Franchot Tone
Lupe Yelez
Henry Wadsworth
Johnny Weissmuller
Diana Wynyard
Robert Young

Universal City, Calif.

Universal Studios

Robert Allen
Vilma Banky
Vince Barnett
Andy Devine
Louise Fazenda
Sterling Holloway
Leila Hyams
Buck Jones
Boris Karloff
Jan Kiepura
Evalyn Knapp
June Knight
Paul Lukas
Mabel Marden

Ken Maynard
Chester Morris
Charlie Murrav
ZaSu Pitts
Roger Pryor
Claude Rains
George Sidney
Onslow Stevens
Gloria Stuart
Margaret Sullavan
Slim Summerville
Luis Trenker
Alice White

Burbank, Calif.

Warners-First National Studios

Loretta Andrews
Mary Astor
Robert Barrat
Richard Barthelmess
Joan Blondell
George Brent
Joe E. Brown
Lynn Browning
James Cagney
Enrico Caruso, Jr.
Hobart Cavanaugh
Ricardo Cortez
Bette Davis
Claire Dodd
Ruth Donnelly
Ann Dvorak
Patricia Ellis
Glenda Farrell
Philip Faversham
Kay Francis
Geraine Grear
Hugh Herbert
Leslie Howard
Allen Jenkins
Al Jolson
Paul Kaye
Ruby Keeler
Guy Kibbee
Esmond Knight

Lorena Lavson
Hal LeRoy
Margaret Lindsay
Emily Lowry
Marjorie Lytell
Aline MacMahon
Frank McHugh
Adolphe Menjou
Jean Muir
Paul Muni
Theodore Newton
Pat O'Brien
Henrv O'Neill
Dick Powell
William Powell
Phillip Reed
Philip Regan
Edward G. Robinson
Barbara Rogers
Kathryn Sergava
Barbara Stanwyck
Lyle Talbot
Verree Teasdale
Genevieve Tobin
Gordon Westcott
Renee Whitney
Warren William
Pat Wing
Donald Woods

Lloyd Hughes. 616 Taft Bids., Hollvwood. Calif.

Harold Lloyd, 6640 Santa Monica Blvd., Hollywood

Calif.

Neil Hamilton, 9015 Rosewood Ave., Los Angeles

Calif.

Ned Sparks, 1765 No. Sycamore Ave., Hollywood,

Calif.

Gray Hair

You can easily look years younger. With an ordinary
small brush and BROWNATONE, you can tint those
streaks or patches of gray or faded hair to lustrous
shades of blonde, brown, or black. Also splendid for
toning down over-bleached hair.

For over twenty-two years this tried, proven and
popular preparation has aided American women the
country over in retaining their youthful charm and
appearance. Millions of bottles sold is your assurance
of satisfaction and safety. Don't experiment.
BROWNATONE is guaranteed harmless for tinting
gray hair — the active coloring agent is purely vege-
table. Easily and quickly applied — at home. Cannot
affect waving of hair. BROWNATONE is economical
and lasting — it will not wash out. No waiting. No
disappointments. Just brush or comb it in. Easy to
prove by applying a little of this famous tint to a
Jock of hair. Shades: "Blonde to Medium Brown"
and "Dark Brown to Black" — cover every need.

BROWNATONE is only 50c— at all drug and toilet
counters — always on a money-back guarantee, or —

i SEND FOR TEST BOTTLE

1 The Kenton Pharmacal Co.

I 291 Brownatone BIdg., Covington, Kentucky

I Please send me Test Bottle of BROWNATONE and

I illustrated book on care of the hair. Enclosed is a 3c

| stamp to cover partly, cost of packing and mailing.

1 1

I Address .

| City

| Print Your Nan

le and Address

ANew Style Secret
for Smart Women

NOW, it is economy to buy only the finest
hose. Just slip on PEDS, doubling their life
and saving days of wear. Invisible when worn —
, comfortable yet smart — they protect the entire
foot. All sizes. Mercerized Lisle, 20c a pair; Pure
Silk, 40c a pair;"\Voolies" (pure wool), 50c a pair.
Buy PEDS at hosiery counters of most 5-and-
10-Cent Stores and Department Stores, or send
correct stocking size with coins or stamps to —
RICHARD PAUL Inc.Cooper Bldg.,Los Angeles.Cal.

Dept. PU flfe

Ipedlfe

M TRADE MARK REG. Jm

SAVES
MENDING,
TOO/

CXt^ieA in
I C/foUtftvoot/

Mercolized Wax

Keeps Skin Young

It peels off aged skin in fine particles until all defects
such as tan, freckles, oiliness and liver spots dis-
appear. Skin is then soft, clear, velvety and face
looks years younger. Mercolized Wax brings out
your hidden beauty. To remove wrinkles quickly
dissolve one ounce Powdered Saxolite in one-half
pint witch hazel and use daily. At all drug stores.

Raise Mushrooms* At Home! 1

Basement, shed, vacant spaces. No ex-
perience requirel. Year-round business.
Quick promts. We buy your mushrooms. \

Pioneer Mushroom Exchange, X-68, W.AiUin, Chicago, 111.

Cal York's Monthly Broadcast from Hollywood

CONTINUED FROM PAGE 51 j

The three Davies sisters — Marion of the movies, Reine, who writes a

society column for a Los Angeles paper, and Rose — attended the Mayfair

dinner dance at the Biltmore Hotel, Los Angeles

""THERE has been some confusion as to the
financial holdings of Doug Fairbanks, Sr.,
and Mary Pickford in United Artists. Doug
and Mary are not out of United Artists, as
some have supposed. Doug, Jr., thus states
the situation.

"There is no truth in the statement that
20th Century has bought my father's or Miss
Pickford's interest in the parent company.
20th Century is a subsidiary producing com-
pany releasing through United Artists and it
exists under the same condition as the London
arm of the corporation, London Films-United
Artists, with which my father and I are associ-
ated. My father remains, as does Mary, one of
the owners and controllers of the parent com-
pany."

(^OING places together: Harry Wilcoxon,
^JCecil B. De Mille's British Mark Antony in
''Cleopatra," and DeMille's daughter, Kath-
erine; W. C. Fields and Wanda Perry; Frances
Drake and Erwin Gelsey, also Frances and Mel
Shauer; Wynne Gibson and Randy Scott (how
about that, Vivian Gaye?) ; Ronald Colman
and Virginia Peine; Lyle Talbot and Thelma
Rambeau, also Lyle and Luana Walters; Doug-
las Montgomery and Barbara Barondess;
Margaret Sullavan and Jed Harris; Kenneth
MacKenna and a prominent society woman
(in New York); Ann Sothern and Roger
Pryor; Patsy Ruth Miller and John Huston;
Lanny Ross and Olive White; Anita Page and
Joe Bolton, radio announcer (in New York);
Carole Lombard and George Raft, also Carole
and Russ Columbo; Ernst Lubitsch and Mrs.
Greta Koerner of Vienna, also Ernst and Neva
Lynn (is the Ona Munson thing over for good?) ;
Kay Francis and William Powell.

128

COME call it love: Raquel Torres and Stephen
Ames, former husband of Adrienne Ames;
Renee Torres (Raquel's sister) and Paul Ames
(Stephen's brother); Richard Dix and Lois
Wilson (an old romance reviving?); Miriam
Hopkins and Bennett Cerf ; Marian Nixon and
Phillip Reed; Elizabeth Young and Dick Blu-
menthal; Lillian Miles and Walter Kane; Eve-
lyn Venable and Cameraman Hal Mohr; Fran-
cis Lederer and Steffi Duna; Sally Rand and
Charles (Chizzy) Mayon, dance director; Kan-
neth Harlan and a Baltimore debutante; Mona
Maris and Larry Hart; Pat Paterson and Reg-
inald Berkeley; Judith Allen and Joey Ray;
Muriel Kirkland and Gordon Oliver; Leah Ray
and Marty Lewis; Bobbe Arnst and George
Nugent, Washington attorney; Claire Trevor
and Vic Orsatti; Phil Plant the millionaire
playboy who was one of Connie Bennett's
mates, and Mrs. Edna Dunham, New York
divorcee; Mary Kornman and Cameraman Lee
Tovar; Billie Burke and David Burton;
W. S. Van Dyke and Florine McKinney i al-
though they do say this one is cooling) ; Madge
Evans and Russell Hardie (Madge always said
Tom Gallery was just a family friend, anyway ;
Jack Warner and Mrs. Don Alvarado.

JIMMY CAGNEY asked the man
who rang his doorbell the other
afternoon if he were looking for work.
. . . "Not 'specially," said the man.
"But I sure do need a job."

Farewell to the East! After a short vacation in New York, Mr. and Mrs.

Fredric March boarded a train for sunshine and Hollywood, where

Fredric went to work for 20th Century in "The Firebrand"

VyUZjtttG 1)11 1 liltl %4 E: AtAYKEMlOT.

a(f&

MAKE

Stylists and beauty authorities agree. An exciting,
new world of thrilling adventure awaits eyes that are
given the glamorous allure of long, dark, lustrous
lashes . . . lashes that transform eyes into brilliant
pools of irresistible fascination. And could this per-
fectly obvious truth be more aptly demonstrated
than by the above picture?

But how can pale, scanty lashes acquire this magic
charm? Easily. Maybelline will lend it to them in-
stantly. Just a touch of this delightful cosmetic,
swiftly applied with the dainty Maybelline brush, and

the amazing result is achieved. Anyone can do it —
and with perfect safety if genuine Maybelline is used.
Maybelline has been proved utterly harmless
throughout sixteen years of daily use by millions of
women. It is accepted by the highest authorities.
It contains no dye, yet is perfectly tearproof. And it
is absolutely non-smarting. For beauty's sake, and
for safety,s sake, obtain genuine Maybelline in the
new, ultra-smart gold and scarlet metal case at all
reputable cosmetic dealers. Black Maybelline for
brunettes . . . Brown Maybelline for blondes. 75c.

tlAYBELLINE CO. , CHICAGO

THE NON-SMARTING, TE AR-PROOF, PERFECTLY SAFE MASCARA

1 can help you win hearts . . .

Lovely
Warner Bros, star

"There's something about the charm of really exquisite
skin men just can't resist!" says this beautiful star.
"I have the sensitive skin that goes with red hair — yet
for years my simple beauty care . . . Lux Toilet
Soap . . . has kept it always soft and smooth. With
a tempting, smooth skin you can win hearts and
bole/ them. Try my beauty soap — you'll see!"

Actually 9 out of 10 Hollywood stars
use fragrant, white Lux Toilet Soap.
Why don't you win new loveliness the
Hollywood way? Start today!

Scientists Explain:

"Skin grows old-looking
through the gradual loss
of certain elements Nature
puts in skin to keep it
youthful. Gentle Lux Toi-
let Soap, so readily soluble,
actually contains such pre-
cious elements— checks
their loss from the
skin."

For EVERY

...oify.. '.'in- between" ^

MAY
25 CENTS

30 cents in Canada

:laudette

COLBERT

ie Mammy and Daddy of Us All

MARLENE DIETRICH m "THE SCARLET EMPRESS"

T7--; '^ ■' i

Directed by Josef von Sternberg
PARAMOUNT PICTURE

Photoplay Magazine for May, 1934

FOOLi2L

S*^//t€> TIME SHE SPENDS ARRANGING FLOWERS! BUT SHE NEVER SEEMS TO HAVE
A MINUTE FOR HER TEETH AND GUMS . . . AND SHE HAS "Pink TOOtK BfUSh !

This young woman would feel nothing
short of disgraced if her guests were to
discover a " thrown-together" bouquet
or some faded blossoms or clashing
colors!

Yet it has never dawned upon her that
dingy teeth detract from her own charm
far more than a careless bouquet can de-
tract from the loveliness of her rooms!

It isn't that she doesn't brush her teeth.
She does! But she doesn't know that
weak, tender gums need attention just as
surely as teeth need cleaning.

Dental authorities today are laying
more and more emphasis upon massage
of the gums. Why? Because today's foods
are soft and creamy. They give so little
stimulation to the gums that the tissues
become flabby. You have probably no-
ticed a certain amount of tenderness
where your own gums are concerned.
This is a warning. And if your gums ac-
tually bleed a little (a condition called
"pink tooth brush") — the warning is
even clearer.

Clean your teeth with Ipana. Put a

little more Ipana on your brush or finger-
tip, and massage it lightly into your in-
active gums.

Your dentist will tell you why. He will
tell you about the ziratol in Ipana, which,
with massage, aids in strengthening and
toning the gums.

Don't neglect your gums! Keep them
firm and healthy with Ipana and mas-
sage, and you will be in little danger of
picking up Vincent's disease and gingivitis
and pyorrhea. Your teeth will be safer.
And they will look far more brilliant!

THE "IPANA TROUBADOURS" ARE BACK!
EVERY WEDNESDAY EVENING, 9.00, E. S.T.
WEAF AND ASSOCIATED N. B. C. STATIONS

IPANA

TOOTH PASTE

BRISTOL-MYERS CO., Dept. 1-54
73 West Street, New York, N. Y.

Kindly send me a trial tube of IPANA TOOTH
PASTE. Enclosed is a thtee-cent stamp to cover
partly the cost of packing and mailing.

Name

Street

City State

•V

~-~^^

Norma Shearer's first picture
in many months is already
hailed as the greatest thrill-
romance of her career.
Sinners in silks, their lives,
loves, heart -aches . . . their
drama pulsating across con-
tinents and oceans. Exciting-
ly, Norma Shearer exceeds
the beauty and allure of her
"Divorcee" and "Strangers
May Kiss" fame. Never so
glorious as now... in her new
picture she is truly The
First Lady of the Screen!

;

/ ■-

■ 7//v\\

ROBERT MONTGOMERY

wm T ID E

: '_ „ .11;

H E R B E\R\T M h/ffk HALL
M R^sWPATUffiic K /C./kM P B EL L

Writifr/and Direct^Sy EpfyiflSD GOULDING

VING TH^LLBERfe PRODUCTION

// XML

A METRO-GOLDWYN-MAYER PICTURE

©TOP

The World's Leading Motion Picture Publication

Vol. XLV No. 6

KATHRYN DOUGHERTY, Publisher

May, 1934

Winners of Photoplay
Magazine Gold Medal for
the best picture of the year

1920

"HUMORESQUE"

1921

"TOL'ABLE DAVID"

1922

"ROBIN HOOD"

1923

"THE COVERED WAGON"

1924

"ABRAHAM LINCOLN"

1925

"THE BIG PARADE"

1926

"BEAU GESTE"

1927

"7th HEAVEN"

1928

"FOUR SONS"

1929

"DISRAELI"

1930

"ALL QUIET ON THE
WESTERN FRONT"

1931

"CIMARRON"

1932

"SMILIN' THROUGH"

Information and
Service

Brickbats and Bouquets ... 10

Questions and Answers ... 78

Hollywood Menus 94

Addresses of the Stars . . . 108
Hollywood Fashions . . . .112

Casts of Current Photoplays . . 120

High-Lights of This Issue

Close-Ups and Long-Shots Kathrtn Docgherty 25

Greta Garbo Wanted to be a Tight Rope Walker Leonard Clairmont 28

The Mammy and Daddy of Us All George Kent 32

Beauty Pursues Earl Carroll Saba Hamilton 36

Cal York's Monthly Broadcast from Hollywood 46

The Star-Maker Whose Dreams Turned to Dust . Mildred Mastin 50

"Beware the Danger Line, Glenda!" Warns Sylvia . . Sylvia 54

"I'd Never Let My Daughter be a Star" Sylvia Sidney Tells

Virginia Maxwell ........... 60

Seymour — Photoplay's Style Authority 61

No More Crooners! 71

What Was the Best Picture of 1933? 72

Photoplay's Hollywood Beauty Shop . . . Carolyn Van Wyck 73

Screen Memories from Photoplay 92

" I Want A Baby" (Fiction Story) Marilyn Herd 125

Photoplay's Famous Reviews

Brief Reviews of Current Pictures 6

The Shadow Stage 56

Personalities

Gentleman George Kenneth Baker 31

And Was Gloria Burned Up! Ruth Rankin 34

Movies or Radio for Lanny? 38

"Miss Universe" Makes Good 38

"Just Leopold" James T.Tynan 39

"ME Jealous of that Kid? Phooey!" says Baby LeRoy ... 40

Cruising Cowboy Kirtley Baskette 45

Jack the " Bachelor" Ruth Rankin 52

John the Husband 53

This Dane Isn't Melancholy 69

New Chance Won By A Nose 69

Joan Crawford . 70

On the Cover — Claudette Colbert — Painted by Earl Christy

Published monthly by the Photoplay Publishing Co.
Publishing Office, 919 N. Michigan Ave., Chicago, 111. Editorial Offices, 221 W. 57th St., New York City

The International News Company, Ltd.. Distributing Agents, 5 Bream's Building, London, England

Kathryn Dougherty,
President and Treasurer

Evelyn McEvilly, Secretary

Yearly Subscription: $2.50 in the United States, its dependencies, Mexico and Cuba; $3.50 Canada; $3.50 for foreign countries. Remittances

should be made by check, or postal or express money order. Caution — Do not subscribe through persons unknown to you.

Entered as second-class matter April 24, 1912, at the Postoffice at Chicago, 111., under the Act of March 3, 1879.

John S. Tuomey, Vice-President

Consult this pic-
ture shopping
guide and save
your time, money
and disposition

Brief R

eviews o

Current Pictures

-jAr Indicates photoplay was named as one of the best upon its month of review

ABOVE THE CLOUDS— Columbia.— Thrilling,
with lots of air action. Several shots of actual news
topics. Richard Cromwell, a newsreel cameraman;
Robert Armstrong, his superior; and Dorothy Wilson.
(March)

ACE OF ACES — RKO-Radio.— Richard Dix in a

not-so-hot wartime aviation story. (Dec.)

AFTER TONIGHT— RKO-Radio.— Connie Ben-
nett's a Russian spy in love with Austrian officer
Gilbert Roland; fast, exciting. (Dec.)

AGGIE APPLEBY, MAKER OF MEN— RKO-
Radio. — Country-boy Charles Farrell is made into a
tough mug by bad-lady Wynne Gibson. Bill Gargan.
You'll laugh and like it. (Dec.)

• ALICE IN WONDERLAND— Paramount-
Lewis Carroll's fairy tale filmed for the amuse-
ment of both young and old. Charlotte Henry is
charming as A lice. A technical achievement. (Feb.)

• ANN VICKERS— RKO-Radio.— Irene Dunne
in a finely acted tale of a social worker who
loves but doesn't marry. Walter Huston, Bruce
Cabot. Strictly for sophisticates. (Dec.)

AS HUSBANDS GO— Fox.— When wife Helen
Vinson is followed home from Europe by admirer
G. P. Huntley, Jr., husband Warner Baxter takes him
out fishing, and straightens things out. Mediocre.
(Feb.)

AS THE EARTH TURNS— Warners.— Gladys
Hasty Carroll's story of farm life, beautifully por-
trayed by Jean Muir, David Landau, Donald Woods
and a fine supporting cast of young players. (April)

AVENGER, THE— Monogram.— Adrienne Ames
and Ralph Forbes wasted on this one. (Dec.)

BEAUTY FOR SALE— M-G-M — An amusing
tale about the troubles of girls who work in a beauty
shop. Una Merkel, Alice Brady, Madge Evans,
Hedda Hopper, others. (Nov.)

BEFORE DAWN— RKO-Radio— Dorothy Wilson,
a spiritualist, tries to help detective Stuart Erwin
solve a murder mystery — in a haunted house I Not
for the kiddies. (Jan.)

BEFORE MIDNIGHT— Columbia.— A flashback
of a famous murder case with Ralph Bellamy as the
ace detective who solves the mystery. June Collyer
supplies the feminine allure. Passable. (April)

BIG TIME OR BUST— Tower Prod.— Regis
Toomey and Walter Byron try hard, but to no
avail. However, the good singing voice in the film
may make you forget the old plot. (Feb.)

BITTER SWEET— United Artists.— A British
musical, about a woman musician who lives on after
her husband was killed defending her honor. It could
have been stronger. ( Nov.)

BLARNEY KISS, THE— British & Dominions.—
British restraint takes zip from this tale of an Irish-
man who kisses the Blarney Stone, and then has great
adventures in London. Well acted. (Nov.)

• BLONDE BOMBSHELL, THE— M-G-M —
(Reviewed under the title "Bombshell.") Jean
Harlow superb in an uproarious comedy of Hollywood
life. Press-agent Lee Tracy makes her the hot
"Bombshell"; she wants to lead the simple life. (Dec.)

BLOOD MONEY— 20th Century-United Artists.
—Underworld bail bondsman George Bancroft falls
in love with pretty Frances Dee and deserts his
gangster friends who made him. Good suspense.
(Jan.)

• BOLERO — Paramount. — You will find George
Raft and Carole Lombard an engaging team as
they dance to Ravel's haunting " Bolero." And Sally
Rand's fan dance is exquisite. (April)

You will find

"I Want a
Baby"

— a great serial
story, beginning
in this issue of

Photoplay

on page 125

BOMBAY MAIL— Universal.— Murder aboard
the Bombay Mail train. Inspector Edmund Lowe
solves the mystery. The large cast includes Shirley
Grey and Onslow Stevens. Good suspense. (Feb.)

• BOWERY, THE — 20th Century-United
Artists. — Grand fun while Wally Beery as-
Chuck Connors and George Raft as Steve Brodie
battle for leadership of the Bowery in old days.
Jackie Cooper, Fay Wray. Don't miss it. (Dec.)

BRIEF MOMENT — Columbia.— Night club
singer Carole Lombard marries playboy Gene Ray-
mond to reform him. It has snap and speed. (Nov.)

BROADWAY THRU A KEYHOLE— 20th Cen-
tury-United Artists. — Walter Winchell's melodrama
of Gay White Way night life. Entertaining. (Dec.)

• BROADWAY TO HOLLYWOOD— M-G-M.
— Frank Morgan, Alice Brady, others, in a
finely-done life story of two vaudeville hoofers. No
thrills, but supreme artistry. (Nov.)

BROKEN DREAMS — Monogram. — Buster
Phelps shows how a little child can lead them; it's
slightly hokey. (Dec.)

BUREAU OF MISSING PERSONS— First Na-
tional.— Good, stirring detective work by hard-boiled
Pat O'Brien, directed by chief Lewis Stone. Bette
Davis. (Nov.)

• CAROLINA — Fox. — Janet Gaynor's devotees
will be charmed by her performance in this
story of the traditions and aristocracy of the South.
Lionel Barrymore, Henrietta Crosman, Robert Young
and good support. (April)

CAT AND THE FIDDLE, THE— M-G-M —

Pleasant entertainment is this film with Jeanette
MacDonald vocalizing gloriously and Ramon Novarro
as her lover. Frank Morgan, Charles Butterworth.
(April)

CATHERINE THE GREAT— London Films-
United Artists. — Title role is expertly portrayed by
Elizabeth Bergner. Effective, too, is Douglas Fair-
banks, Jr., as the mad Grand Duke Peter. An im-
pressive production. (April)

CHANCE AT HEAVEN— RKO-Radio.— "Poor
but noble" Ginger Rogers and rich Marian Nixon
want Joel McCrea. Excellent playing makes this old
plot highly appealing. (Dec.)

CHARLIE CHAN'S GREATEST CASE— Fox.

— Warner Oland in another delightful tale about the
fat Chinese detective, and a double murder. Heather
Angel. (Nov.)

CHARMING DECEIVER, THE— Majestic Pic-
tures.— One of those mistaken identity films, with
Constance Cummings as a London mannequin im-
personating a movie star. Frank Lawton is her lover.
Acceptable. (March)

CHIEF, THE— M-G-M.— Ed Wynn in a filmful of
his nonsense that's good at times and at others not so
good. (Dec.)

CHRISTOPHER BEAN (Also released as "Her

Sweetheart") — ■ M-G-M. — Marie Dressier, Doc
Lionel Barrymore's maid, gives you plenty of laughs
when she helps daughter Helen Mack elope with
Russell Hardie, much to the annoyance of Beulah
Bondi, doctor's wife. See it. (Jan.)

COMING OUT PARTY— Fox— So poor Gene
Raymond may go on European concert tour, Frances
Dee keeps from him news of coming blessed event and
goes through with her society debut. Old plot, but
fine cast. (April)

• COUNSELLOR-AT-LAW— Universal.— John
Barrymore, in a splendid portrayal of the
lawyer who rose from the Ghetto to position of New
York's foremost legal advisor. Bebe Daniels, as his
secretary, is excellent. Each member of the large
cast does fine work. Never a dull moment. (Feb.)

CRADLE SONG — Paramount. — Just as charm-
ing is Dorothea Wieck in this her first American
picture as she was in "Maedchen in Uniform."
The beautiful story of a nun who showers mother-
love on a foundling. (Jan.)

[ PLEASE TURN TO PAGE 13 ]

Photoplay Magazine for Ma-v, 1934

dltt ) tfu ' nahfik
~&u)m!> to aaot-
dtion of a rmv

It takes high talent to win
a place in the select ranks
ofTheSfar Company.. Jean
Muir has done it! Watch
how this truly American
beauty wins you to her in
the film from the best seller
of its season — "As The
Earth Turns". Critics call it
"a triumph"-"outstand-
ing"... You'll recall it years
from now as one of your
greatest picture thrills!

$A»x

vtu\

JflS THE
EARTH TURNS

with DONALD WOODS . . . Russell Hardie

Emily Lowry . . . Arthur Hohl . . . Dorothy

Peterson . . . David Landau . . . Clara Blandick

Directed by Alfred E. Green

Photoplay Magazine for May, 1934

%? W, ^ ^^ ^^ y

Photoplay Magazine for May, 1934

/rwzp.

'/ivied

Produced with a magnificence, magnitude
and imagination unapproached in show
history. Dazzling beauties... blazing splen-
dor . . . amazing novelty. . . myriad surprises
. . . laughs, songs, drama, thrills, romance,
. . . everything!

GJGGB f<

WARNER BAXTER

MADGE EVANS ♦ SYLVIA FROOS
JOHN BOLES • JAMES DUNN
"AUNT JEMIMA" • SHIRLEY TEMPLE

1 ARTHUR BYRON • RALPH MORGAN
NICK FORAN • NIGEL BRUCE

MITCHELL & DURANT • STEPIN FETCHIT

1,000 DAZZLING GIRLS! »5 BANDS OF MUSIC!
VOCAL CHORUS OF 500! • 4,891 COSTUMES!
1,200 WILD ANIMALS! • 1,000 PLAYERS!
335 SCENES! • 2,730 TECHNICAL WORKERS!

Produced by WINFIELD SHEEHAN

Associate Producer and Collaborator
on story and dialogue: LEW BROWN
Director: HAMILTON McFADDEN. Lyrics: LEW BROWN. Music: LEW BROWN
and JAY GORNEY. Dances staged by SAMMY LEE. Dialogue: RALPH SPENCE.
Story Idea Suggested by WILL ROGERS and PHILIP KLEIN.

6 SONG HITS!

We're Out of the Red'

Our Last Night
Together"

"Baby, Take a Bow'

"I'm Laughin' "

"Broadway's Gone
Hill Billy"

'Stand Up and Cheer"

1 he Audi

lence

lalks Back

By readers' votes, re-
ceived over a period
of four months,
Norma Shearer and
her husband Irving
Thalberg have been
acclaimed Holly-
wood's Ideal Couple

THE $25 LETTER

Stories of salesmen's use of nights on the
road, are always interesting to me.

Having traveled for nearly ten years, I be-
lieve I can safely recommend almost any sales-
man as a Class "A" movie critic.

Always, around the hotel lobby, are a num-
ber of the boys who think an evening at the
movies the most economical entertainment.

When you're away from home any picture
looks good. I seldom find myself "choosy."

I have spent a good many dollars at the
movies, and feel that I am still "up" on them,
for I've had more enjoyment than they charged
me for. My little ticket has always paid far
more than the original investment.

John Rammes, Denver, Colo.

THE $10 LETTER

I am an inmate of a prison — an institution
governed by broad-minded men, whose object
is the reformation and rehabilitation of
society's cast-offs. Education is the dominat-
ing feature in the reformation process, and
talking pictures are part of the curriculum.

The entire inmate body is given a feature
picture weekly. The tremendous effect of
these films on imprisoned men is something
that those interested in penology can well

tarn! Bang!

'And the Garbo-Hepburn
battle for supremacy goes on.
It's only in its infancy, so here's
your chance to throw a Brick
or a Bouquet.

While the contestants re-
main strangely serene, a stag-
gering punch is pulled by the
onlookers. Almost a technical
knockout — as the bell sounds
for the end of round two!

In no uncertain terms do
PHOTOPLAY readers express
their feelings about this Garbo-
Hepburn screen encounter.
It is in the stars that it cannot
be a draw. So prepare to watch
a fight to the finish!

From Paris comes a message
saying that folks over there are
studying English solely for the
purpose of better understand-
ing our American films. Score
one for our side!

afford to study. Anything that can melt the
heart of a hardened criminal is a pretty sensible
thing to include in reformation theories.

Charles Williams, Jackson, Mich.

THE $5 LETTER

ATTENTION! Air Corps, United States
Army speaking. From reveille to retreat ; from
retreat to reveille inflexible discipline maintains
that combination of men and machines — the
Air Corps. A world of orders. A world of
tight wings and tight nerves — neither must
ever loosen.

REST! Colonels and lieutenants; master
sergeants and buck privates exchange show
checks for two hours of diversion at post
theaters. Rank and file alike laugh at the
antics of Mickey Mouse. The human element
of the Air Corps finds in the motion picture an
outlet for cares of the working day.

TAPS! A bugler blows the sweet refrain,
which heralds the passing of another day, a day
made a better and more pleasant one by the
magic of the motion picture.

Buck Private, Army Air Corps

IN NO UNCERTAIN TERMS

I want to come to bat regarding Kirtley
Baskette's article in March Photoplay — "Is
It Garbo or Hepburn?" I want to lay down
my vote, in no uncertain terms, for Garbo!

Katharine Hepburn has made up her mind
to make people pay attention to her and has
gone about it as if to force her will down our
throats willy-nilly. On some people it may
work. With me it does not.

Garbo leads — the rest follow ! It is amusing
to me the way mastery of technique is the one
ace in the hole usually picked in comparing
some pretender to the throne with the magnifi-
cent Garbo.

Few, very few, are so divinely inspired that
by sheer force of compelling genius they lift
others to heights of undreamed of beauty.
Garbo reigns on these heights — alone!

B. M. N., New York, N. Y.

A MODERN BERNHARDT

I have read the article in your March issue,
"Is It Garbo or Hepburn?" and enjoyed it im-
mensely.

Relative to the question, "Who will be
future Queen of the screen?" let me state it
will be none other than Katharine Hepbum.

No one can deny that Hepburn is by far the
most scintillating actress ever to come to
movieland. She is truly a modern Bernhardt
or Duse! People everywhere are proclaiming
the genius of Hepburn!

Sally K. Rich, Providence, R. I.

THE CROWN IS SAFE

Hepburn will be no more successful in
wresting Garbo's throne from her than the
other claimants who have made their bids and
failed.

Hepburn, for all her talent, is too much like
our own ordinary selves. Garbo, we worship,
because she is so completely unique.

There is about Garbo an unearthly aura of
perfection. We may enjoy Hepburn's per-
formances, but she cannot give us the ecstatic
thrill of which only Garbo knows the secret.
M. R. Harrison, Brooklyn, N. Y.

[ PLEASE TURN TO PAGE 12 ]

Photoplay Magazine for May, 1934

I I

MARGARET

SVLLAVAN

THE GIRL YOU
, LOVED IN „

ONLY YESTERDAY

FROM THE BOOK OF THE YEAR
COMES THE PICTURE OF THE YEAR

PrerenteJ by CARL L AEMMLE

»*«**"€

W^^l^^'A UNIVERSAL*

Let's Hear What You Think of Current Pictures

[ CONTINUED FROM PAGE 10 ]

Lee Tracy admirers will be happy to know that he will
appear on the scene soon again in Universal's news-
paper yarn " I'll Tell the World." Lee and Roger Pryor
are reporters for rival syndicates

YOU SHALL HAVE HIM

Are we, the discriminating devotees of film-
dom, to be denied the genius of Lee Tracy?
Tracy, who commands exclusive talent and
who utilizes that talent in a paramount form of
entertainment? Who is superb in his par-
ticular characterization? Tracy, who is in-
imitable? Who lacks nothing that a dramatic
actor should profess?

I am sure that I express the general senti-
ment of fandom. There is one, and only one
Lee Tracy — and we want him back!

Walter White, Indianapolis, Ind.

GLAD WE CAN PLEASE

One thing that amuses me over here is that
no matter how much Europeans criticize
American policies and people, they do love
American films. I know several, who are
studying English simply because they lose so
much at the movies by not knowing it.

Lately, I have shown copies of Photoplay
to some of the women. You see they don't
print magazines like this here, and I wanted to
get their reactions. Well, there were some sur-
prises in store for me ! Of course, they all loved
the magazine.

The thing that amazed all of them was that
the stars don't mind letting everyone know
how they got so beautiful.

One woman said, "With such frank articles,
anybody can be healthy and beautiful!"

Jean Hawthorne, Paris, France

THE GREAT HEPRURN

' "Is It Garbo or Hepburn?" Tradition, ac-
cording to your March Photoplay article, says
Garbo. I hope this tradition is wrong; for I'm
sick of Garbo. Her highly touted personality
leaves me cold. Mysterious and exotic she
may be, but my vote goes to Katharine (the
Great) Hepburn.

Garbo appears so lifeless and dead in her
acting. Hepburn never gives a dull moment.
Whereas, I have a colorless mental picture
when I try to recall Garbo. Hepburn is as
alive, vivid and real to me as my best friend.

I agree with the letter writer in the March
issue, who'd prefer Hepburn as a friend before
anyone else in Hollywood.

Dorothy Merxett, Raleigh, N. C.

MAYBE WE WILL

"Hi, Nellie!" with that grand actor, Paul
Muni, is what I call a good movie. It didn't
have a dull moment in it. It was a real true-
to-life picture. I only wish we could have more
like it.

G. E. Frlnk, Portsmouth, N. H.

Folks everywhere
are cheering the
splendid work of
Paul Muni, Glen-
da Farrell and
supporting play ers
of "Hi, Nellie!"
another clever
newspaper story

A VOICE FROM ABROAD

I am a young American studying the violin
here in Prague. I see films from my own
country as well as those from other large
European nations. I now understand the
supreme position of the American films here.

It is indeed a pleasure to hear one's favorites
speaking in a "reel" American "dialect" (as
the English call it).

Happily I get every issue of Photoplay and
am thus well compensated for the pictures I
miss. I enjoy reading about American films
even more now than I did while at home.

Michael Bezzeg, Prague, Czechoslovakia

THE MOVIE INFLUENCE

I come home from the theater after seeing
something Adrian has designed for Crawford —
snatch my scissors, and try to give a hat or
dress that same twirl.

My young son sees Arabs running with flam-
ing torches. He comes home — makes himself
one, and runs through the house with it.

After seeing Wallace Beery prescribe lemon
juice for Lionel Barrymore's indigestion, my
husband hurries out of the theater to buy
lemons.

Esther Cox, Charlotte, N. C.

[ PLEASE TURN TO PAGE 16 ]

Photoplay Magazine for May, 1934

Brief Reviews of
Current Pictures

[ CONTINUED FROM PAGE 6 ]

CRIMINAL AT LARGE— Hclber Pictures-
Edgar Wallace's exciting mystery. All about strange
happenings at the old castie of the Lebanon family.
(March)

CROSS COUNTRY CRUISE — Universal. —
Another transcontinental bus trip, the passengers this
time being Lew Ayres, June Knight. Arthur Vinton,
Alan Dinehart, Minna Gombell and Alice White.
Good comedy. (March)

DANCE, GIRL, DANCE— Invincible.— Dancer
Evalyn Knapp can't get along with vaudeville
partner-husband Edward Nugent. But when she
clicks in a night club, they make up. Entertaining.
(Jan.)

• DANCING LADY— M-G-M.— A backstage
musical with gorgeous settings, lovely girls.
novel dance routines, some good song numbers, a
real plot and a cast of winners, including Joan Craw-
ford, Clark Gable, Franchot Tone, Fred Astaire.
(Feb.)

DARK HAZARD — First National. — Fascinated
by a greyhound named Dark Hazard and by the
racing fever, Eddie Robinson loses wife Genevieve
Tobin through neglect. Grand night scenes at the
dog track. (Feb.)

DAY OF RECKONING, THE— M-G-M —

Richard Dix, Madge Evans, Conway Tearle, below
par in an ancient tale of an embezzling cashier and a
double-crossing friend. (Dec.)

• DEATH TAKES A HOLIDAY— Paramount.
— As Death, who mingles with guests at a house
party, and finds love with Es'elyn Venable, Fredric
March is superb. Grand supporting cast. (April)

DELUGE — RKO- Radio.— Earthquakes, tidal
waves, the end of the world provide the thrills here.
Cast and story alike dwarfed by the catastrophes.
(Nov.)

• DESIGN FOR LIVING — Paramount.— Noel
Coward's unconventional stage play of a
triangle, involving two men (Fredric March and
Gary Cooper) and a woman (Miriam Hopkins).
Excellent. Sophisticated. (Jan.)

DEVIL TIGER— Fox.— Thrilling experiences of
Harry Woods, Kane Richmond and Marion Burns in
the Malay jungle, as they set about capturing the
man-eating Devil Tiger. (April)

DOCTOR BULL — Fox.— Will Rogers brings per-
sonality to the tale of a country doctor struggling
with a community that misunderstands; mild, except
for Will. (Nov.)

• DUCK SOUP— Paramount.— The Four Marx
Brothers get mixed up in a revolution in a
mythical country — and boy, how they get mixed up!
A riot of fun. (Jan.)

EASY MILLIONS— Freuler Film.— A fine mix-up
when "Skeets" Gallagher finds himself engaged to
three girls at the same time. Johnny Arthur is his
professorish roommate. Good supporting cast. (Feb.)

EASY TO LOVE— Warners.— Light entertain-
ment with Adolphe Menjou, Genevieve Tobin. Mary
Astor and Edward Everett Horton in an amusing
marital mix-up. (April)

EAT 'EM ALIVE— Real Life Pictures.— A nature
drama about snakes and gila monsters. Perhaps a
bit too gruesome for women and children. (Feb.)

EIGHT GIRLS IN A BOAT— Paramount.—
Dorothy Wilson, as the academy student facing
motherhood, and Douglass Montgomery, as the boy,
do nice work in this rather odd tale. Walter Con-
nolly, Kay Johnson. (March)

EMPEROR JONES, THE-United Artists.—
The great Negro actor Paul Robeson, in a filming of
his phenomenal stage success about a Pullman porter
who won rulership of a Negro republic. (Dec.)

WE NEED ANOTHER
MAN, SIRJO HANDLE

ALL THIS NEW
BUSINESS. I'D LIKE

TO TAKE F—

ON AGAIN

O.K., JIM BUT WAIT...
HE'S THE CHAP WHO
HAD "B.O"_THAT WAS
WHY I PICKED HIM

TO GO WHEN WE
HAD TO CUT DOWN

IF IT WERENT FOR

THAT ONE FAULT, I'M

SURE THE BOSS

WOULD TAKE F—

BACK. HE'S A FINE

WORKER AND AS

"REGULAR" AS THEY

COME

NEXTDAY_

aJrattA talk wit/t F-

OF COURSE THIS IS
STRICTLY CONFIDENTIAL

F-,AND I CAN'T
PROMISE YOU A JOB.
BUT IF YOU'LL FIX UP
THAT LITTLE MATTER
AND DROP IN AND

SEETHE BOSS.

jim,youre a
corker! believe

me i'll never
take chances
with "b.o." again

THATS THE SPIRIT,
OLD FELLOW.
CHANGE TO MY SOAR.
LIFEBUOY. IT'LL
KEEP YOU SAFE

HE NEEDS THE JOB,
TOO. HAS A WIFE
AND CHILD. AND NO
MONEY COMING IN
FOR 10 MONTHS!
I'M GOING TO DO
SOMETHING ABOUT
THIS....

WHAT A CLEAN
SCENT ! WHAT RICH

LATHER!" B.O."
HASN'T A CHANCE
AFTER A LIFEBUOY
BATH

B.0."G0NE_
dad times over for the F-'s

SAW THE BIG BOSS TODAY,
SWEETHEART, AND I'M
STARTING MONDAY

OH.THATS GREAT, DARLING.
YOU'LL GET AHEAD FAST NOW

I'VE JUST GOT TO)

^, ASK YOU, MRS. F- '

fA'.rJ HOW DO YOU KEEP

NOTHING quite like Lifebuoy lather!
Abundant in hot or cold water, hard
or soft-it penetrates and purifies both face
and body pores. Brings to dull, tired-look-
ing complexions new, fresh, glowing love-
liness. Ends that common yet never for-
given fault, "B.O." {body odor). Its fresh,
clean, quickly-vanishing scent tells you
Lifebuoy is different — does more!

Enjoy its extra benefits

Follow the example of intelligent, value-
seeking people
everywhere. Make
Lifebuoy a"habit" —
for face, hands, bath.
NOTE:More"B.O."
warm days. Play safe!

Fashion insists that your new

hair dress include those flattering

ringlets and soft curls so smartly

feminine. And they're not at all

difficult with these new Sta-Rite

pins. Only an inch and a half

long, they're the tiniest, most

truly invisible pins you've ever used.

Do try them — they make ordinary

bob pins seem needlessly clumsy.

Ten cents at your favorite store or beauty

shop — in blac\, brown, blonde or gray. Or

send 10 cents for trial package. (State Color).

STA-RITE HAIR PIN CO.

Shelbyville, Illinois

Tired. .Nervous

^Wife

Wins Back
Pep!

HER raw nerves
were soothed.
She banished that
"dead tired" feel-
ing. Won new youth-
ful color— restful
nights, active days — all because she rid her system of
bowel-clogging wastes that were sapping her vitality.
NR Tablets (Nature's Remedy) — the mild, safe, all-
vegetable laxative — worked the transformation. Try
it for constipation, biliousness, headaches, dizzy spells,
colds. See how refreshed you
feel. At all druggists' — 25c.

Photoplay Magazine for May, 1934

ESKIMO — M-G-M. — A gorgeous picture of life in
the Arctic, and Eskimos tangling with white man's
law. Eskimo actors; a treat for all who like the un-
usual. (Dec.)

EVER IN MY HEART— Warners.— Barbara
Stanwyck in a too-horrible tale about persecution of
herself and hubby Otto Kruger as German-Americans
during the World War. (Dec.)

EVER SINCE EVE— Fox.— Gold digger Mary
Brian causes all sorts of complications for mine
owners George O'Brien and Herbert Mundin. Lots
of laughs. (April)

FAITHFUL HEART— Helber Pictures.— Not
even Herbert Marshall and Edna Best could make
anything of this. ( Nov.)

FAREWELL TO LOVE— Associated Sound Film.
— Especially for those who enjoy Italian opera airs.
Jan Kiepura, tenor, and Heather Angel do the best
possible with their roles. (Feb.)

• FASHIONS OF 1934— First National-
Scheming the foremost designers out of ex-
clusive models, William Powell, with the aid of Bette
Davis, and Frank McHugh, comes through with as
clever a presentation as you have yet seen. (March)

FEMALE — First National. — Ruth Chatterton,
who toys with men in her own motor company, melts
before George Brent. Chatterton fine. (Jan.)

• FOOTLIGHT PARADE— Warners— Not as
much heart appeal as the earlier Ruby Keeler-
Dick Powell "backstage'' romances, but it has Jimmy
Cagney. He's grand, and the specialty numbers are
among the finest ever done. (Dec.)

FOUR FRIGHTENED PEOPLE— Paramount —

The experiences of Claudette Colbert, Herbert Mar-
shall, William Gargan and Mary Boland, lost in the
Malav jungle. Leo Carrillo is their guide. Unusual.
(March)

FROM HEADOUARTERS— Warners.— A grip-
ping murder mystery, showing real police methods for
a change. (Dec.)

FRONTIER MARSHAL— Fox.— George O'Brien
as a "dude" marshal in a Western town. Ruth
Gillette does a Mae West impersonation. Well
worth your time. (Feb.)

FUGITIVE LOVERS— M-G-M— Escaped con-
vict Robert Montgomery falls in love with Madge
Evans when he boards a transcontinental bus and ac-
companies her on the trip. Nat Pendleton, C. Henry
Gordon, Ted Healy. Fair. (March)

Great Quantities Being Sold/
MMIC CttlES* (MIPS

NO HOUSE-TO-HOUSE
NO COSTLY MACHINE TO BUY

An exceptional business which
may be started on a small scale,
and built up out of profits. De-
cidedly unusual! You can work
at home. Chips come to you
already made. Simply drop into
hot grease and they're ready to eat — big, tasty, crispy.
delicious! No complicated work. Experience unnecessary.
Stores do your selling for you. You don't invest a cent
until you've sold yourself on the possibilities. Then you
can start with S8.50 investment. Money-Back guarantee
goes with Initial purchase. Send for actual copies ot

orders from distributors showing how their business grows. A business
for men and women alike. No super salesmanship.no big investment. We
furnish everything—display stands, advertising, etc. Get the exclusive
rights for your locality. Write at once. Samples and particulars free.

FLUFF-O MFG. CO., Dept.3067-E,St. Louis, Mo.

GHOUL, THE— Gaumont British.— Not nearly
up to the standard of former Boris Karloff chillers.
Audiences are apt to be amused when action is in-
tended to be most terrifying. (April)

GIRL IN THE CASE, THE— Screen Art Prod —
Dr. Eugen Frenke's (husband of Anna Sten) initial
American production is pretty dull fare. Jimmy Savo
and Dorothy Darling. (April)

GIRL WITHOUT A ROOM— Paramount.—
Charles Farrell, Marguerite Churchill and Charlie
Ruggles in a picture that kids the pseudo-art racket
in Paris. Light entertainment. (Feb.)

• GOING HOLLYWOOD — M-G-M. — In
which Bing Crosby displays real acting ability,
and sings some grand songs. Marion Davieswas never
better. Stuart Erwin, Fifi Dorsay. Colorful en-
sembles, gorgeous clothes. Well done. (March)

GOLDEN HARVEST — Paramount. — Farmer
Dick Arlen grows wheat; brother Chester Morris is a
Board of Trade broker; a farmers' strike brings the
climax. A strong film. (Dec.)

GOOD COMPANIONS, THE— Fox-Gaumont-
British. — A mildly pleasing English tale of trouping
in the provinces. (Dec.)

GOODBYE LOVE — RKO-Radio. — Charlie
Ruggles in a would-be comedy that's really a messy
mixture of unsavory material. (Dec.)

GOOD DAME — Paramount. — The romance of
good little Syh'ia Sidney and carnival wise-guy
Fredric March is a hectic affair. Photography, dia-
logue and cast fine. (April)

GUN JUSTICE — Universal. (Reviewed under
the title "Rider of Justice.") — Ken Maynard shows
up in the nick of time to save the pretty girl's ranch
in Arizona. The same old hokum. (Jan.)

• HAVANA WIDOWS— First National.— Joan
Blondell, Glenda Farrell and Guy Kibbee in a
rollicking comedy. A climax that will tickle your
risibilities. Good fun. (Jan.)

HE COULDN'T TAKE IT— Monogram.— Pals
Ray Walker and George E. Stone get mixed up with
gangsters in a highly amusing comedy concoction.
Virginia Cherrill. (Feb.)

HELL AND HIGH WATER— Parmount.— Dick
Arlen, owner of a garbage scow, falls heir to a baby
and a girl (Judith Allen) at the same time. Dick
fine; story poor. (Jan.)

HER SPLENDID FOLLY— Hollywood Pictures.
— Generally speaking, this is pretty poor. Lilian
Bond plays the role of double for a movie star.
Alexander Carr is a producer. (Feb.)

HI, NELLIE! — Warners. — Paul Muni splendid as
Managing Editor demoted to Heart Throb Depart-
ment for muffing story. Fast action, suspense, humor
make this a movie headliner. Glenda Farrell, Ned
Sparks. (April)

Photoplays Reviewed in the
Shadow Stage This Issue

Save this magazine — refer to the criticisms before you j?ic\ out
your evening s entertainment. Ma\e this your reference list.

Page

Always a Gent — Warners 58

Bedside — First National Ill

Beggars in Ermine— Monogram 59

Bottoms Up — Fox 56

Come On Marines — Paramount 59

Countess of Monte Cristo — Universal. . 59

Crime Doctor, The— RKO-Radio 57

David Harum — Fox 58

Ferocious Pal — Principal Pictures Ill

Found Alive — Ideal Pictures Ill

Gambling Lady — Warners 1 10

George White's Scandals — Fox 57

Harold Teen — Warners Ill

Heat Lightning — Warners 110

Honor of the West — Universal 1 10

House of Rothschild, The— 20th

Century-United Artists 56

I Believed In You — Fox 1 10

Intruder, The— Allied Ill

Journal of a Crime — Warners 59

Page

Lazy River— M-G-M 110

Let's Be Ritzy — Universal 110

Long Lost Father— RKO-Radio 110

Midnight — Universal Ill

Mystery of Mr. X— M-G-M 58

Ninth Guest, The — Columbia Ill

No Funny Business— Ferrone Prod. ... Ill

No Greater Glory — Columbia 58

Registered Nurses — Warners 59

Riptide— M-G-M 57

Shadows of Sing Sing — Columbia 110

She Made Her Bed — Paramount 58

Show-Off, The— M-G-M 58

Sing and Like It— RKO-Radio 59

Speed Wings — Columbia 110

Success at Any Price— RKO-Radio . . . 110

Take the Stand— Liberty 110

This Man Is Mine— RKO-Radio 56

Wharf Angel — Paramount 110

Photoplay Magazine for May, 1934

HIPS, HIPS, HOORAY— RKO-Radio.— Money
disappears and two fakers. Wheeler and Woolsey. in
partnership with Thelma Todd and Dorothy Lee,
leave town by way of a cross country' auto race.
Good music and dancing. (March)

HIS DOUBLE LIFE— Paramount. — Through a

mistake in identity it is believed that artist Roland
Young died when his valet passes away. Whereupon
Young marries the valet's mail-order fiancee, Lillian
Gish. An amusing satire. (March)

HOLD THE PRESS— Columbia.— This time
Tim McCoy is a newspaper man. He has exciting
times trying to expose a group of racketeers, and in
the end he does. Good suspense. (Feb.)

HOOPLA — Fox. — Clara Bow as a carnival dancer.
Love interest, Richard Cromwell, whom Clara is
paid to vamp — and does she like it? Story so-so.
(Jan.)

HORSE PLAY — Universal. — Cowboys Slim Sum-
merville and Andy Devine go to England with a
million dollars, just in time to save pretty Leila
Hyams from jewel thieves. Just so-so. (Feb.)

• HOUSE ON 56TH STREET, THE— Warn-
ers.— After twenty years' unjust imprison-
ment. Kay Francis' life means little to her. Then it
is her lot to save daughter Margaret Lindsay from
a similar fate. Ricardo Cortez and Gene Raymond.
(Jan.)

L I AM SUZANNE!— Fox.— Lilian Harvey at her
nC best opposite Gene Raymond, a puppeteer, in a
brand-new type of entertainment. You'll enjoy
watching the performance of the marionettes in this
charming romance. (March)

I HAVE LIVED — Chesterfield.— Alan Dinehart,
Anita Page, others, help this obvious tale about a
playwright and a woman of easy virtue. ( Nov.)

*I LOVED A WOMAN— First National.— Ed-
ward G. Robinson, as a rich Chicago meat-
packer, finds his life torn between wife Genevieve
Tobin and opera singer Kay Francis. Excellent and
"different." (Nov.)

• I'M NO ANGEL.— Paramount.— It's Mae
West, and howl Sizzling, wise-cracking. This
one simply wows audiences. There's Cary Grant, but
Mae's all you'll see. (Dec.)

INVISIBLE MAN, THE— Universal.— Shivery,
this H. G. Wells tale, in which newcomer Claude
Rains makes himself invisible — and then loses his
reason. A creepy, but compelling picture. (Jan.)

• IT HAPPENED ONE NIGHT— Columbia —
Claudette Colbert and Clark Gable, who strike
up acquaintance on bus from Miami to New York,
have an adventurous trip, indeed. A gay, well
directed film. (April)

I'VE GOT YOUR NUMBER— Warners.— Tele-
phone repair men Pat O'Brien and Allen Jenkins,
hello girl Joan Blondell keep things moving along.
Glenda Farrell. Eugene Pallette. (April)

I WAS A SPY— Fox-Gaumont British.— Allies
Herbert Marshall and Madeleine Carroll, as nurse and
doctor in enemy hospital, do nice work in good spy
story. Conrad Veidt. (April)

JIMMY AND SALLY— Fox.— With the aid of
secretary Claire Trevor, publicity director Jimmy-
Dunn manages to find his way out of all sorts of
scrapes that result from his fantastic schemes. Lya
Lys, Harvey Stephens. (Feb.)

KADETTEN (Cadets)— Reichsligafilm Prod.—
An unwilling student at military school (Franz
Fiedler) dedicates many musical compositions to his
young stepmother. Trude von Molo. German, with
English titles. (March)

KEEP 'EM ROLLING— RKO-Radio.— A man,
his horse and the bond existant between them.
Walter Huston's devotion to Rodney through war
and peace. Frances Dee, Minna Gombejl. (April)

KENNEL MURDER CASE. THE— Warners.—
William Powell in another Philo Vance murder mys-
tery; smoothly done and entertaining. (Dec.)

KING FOR A NIGHT— Universal.— Chester
Morris, a swell-headed, though likable prize-fighter,
stands the consequences for something sister Helen
Twelvetrees has done. Exciting. (Jan.)

LADIES MUST LOVE— Universal. — A "gold-dig-
ger" partnership breaks up when June Knight really
falls for Neil Hamilton. Thin, but it has good spots.
(Nov.)

[ PLEASE TURN TO PAGE 116 ]

WWJ to- jzff^ctlijOLi^

derfroi/ lia&i

ODAY, ZIP is the only Epilator
available for actually destroying hair
growths, by removing the cause.
Tested over a period of twenty years,
ZIP has been used by thousands of
women for effectually destroying hair
on the face as well as on the arms,
legs and underarms.
•
So simple. So quick. ZIP leaves no
trace of hair above the skin ... no
prickly stubble later on ... no dark
shadow under the skin . . .That is why
so many screen stars and Beauty
Specialists recommend ZIP.

Pleasant to use, and delightfully fra-
grant, ZIP acts immediately and
brings lasting results. Your disfigur-
ing hair growths will not only be re-
moved, but also destroyed under the
skin. Special ZIP Kit (formerly
00) now only $1.00. All stores.

And if you prefer a cream depilatory use

NEW PERFUMED

DEPILATORY CREAM

choicest cold cream

As delightful as your

This is by far the most popular depilatory cream today. Simply
spread on and rinse off. If you have been using less improved
methods you will marvel at this white, delightfully perfumed cream.
It instantly removes every vestige of hair; eliminates all fear of
stimulated growths. Giant tube, twice the size at half the price — 50c.

TREATMENT OR FREE
DEMONSTRATION AT

wdmSam

SPECIALIST

562 FIFTH AVENUE
(46th ST.) NEW YORK

TATENT PENDING

The quickest and easiest way to apply liquid deo-
dorant. New formula in a beautiful atomizer bottle,
ZiP Spray Deodorant checks perspiration, 50c.

ZIP CteamZ2>£&c/otom£

At last, a physician's prescription for eliminating
odors. This delightful cream, applied with finger
tips, acts immediately. Fascinating carved wood
container, 35c, 50c. All good stores or by mail.

PATENT PENDING

Brickbats and Bouquets

[ CONTINUED FROM PAGE 12 ]

Here you see Boris Karloff, terrifying Wallace Ford, in one of his superb

characterizations — the religious fanatic in " The Lost Patrol " — about

which many movie-goers have sent praises

WELL, HAVE YOU?

So great character actors who submerge
themselves in their roles never become popu-
lar? Well, how about Boris Karloff?

If there is any trace of his own charming
personality in any of his strong characteriza-
tions, will someone kindly point it out?

And as for popularity — come on, you Karloff
admirers, prove that he's a favorite! You
haven't all got writers' cramp, have you?
Ruth M. Bailey, San Jose, Calif.

SHE MEANS US!

Twinkle, Twinkle little star

How we wonder what you are.
But as you glitter, as you glow,

Photoplay is sure to know
Where you come from, when and why,

What you're doing in the sky,
All about your latest yen

For different clothes or leading men.
Your life, your loves, success and glories,

Are all discussed in Photoplay stories.
And so, we know just what you do

From early morn the whole day through
Until your glitter fades at last

Into the dim and distant past.
In Hollywood we need not stay.

Oh, no! We just read Photoplay!

Annie Leonard, Wilmington, Del.

SOMETHING TO CONSIDER

I think after your annual "Selection of the
winner of the Photoplay Gold Medal for the
best picture of the year," you should endeavor
to have it reshown for the benefit of those who
did not have the opportunity to see it. I think
the experiment would prove profitable for the
producers, as it would have a comeback on the
good selection of films by the readers of Photo-
play Magazine.

G. H. Langosch, Chicago, 111.

DRAMATIZING OURSELVES

We see our favorite actors do simple things
effectively on the screen; and consciously or
not, we build our own daily affairs into intense
little dramas, in imitation — performing them a
little more gracefully, a little more graciously,
because of that.

To other good results of motion pictures, add
these: They are helping us act as though eyes
were on us all the time; helping us lift hum-
drum tasks into the ranks of the beautiful — a
kind of beauty that should last as long as good
pictures are shown.

Jennie E. Harris, Strafford, Penna.

INDIVIDUALITY DEFENDED

A thank-offering for the diversity of person-
alities that make up Hollywood. A protest
against those hypercritical ones who say, " How
perfect it would be if we could find a star who
combined the mystery of Garbo, the appeal of
Dietrich, the beauty of Del Rio, and the per-
sonality of Hepburn."

Such a statement always makes me long to
confront the sayer of it, and ask, "Would you
really enjoy knowing such a person?"

Such a paragon of virtues could never wring
tears or excite a laugh from any of us— she
would be too far above our comprehension.

So let us be thankful that Hollywood has
developed the individuality of each star, so
that it can give us a wealth of characters.

Mrs. Harry L. Young, E. Orange, N. J.

VIM, VIGOR, VITALITY

A lively and energetic actress — that's Ginger
Rogers. She draws a crowd of women as well
as men, which is a true test of a real artist.

She convinces you that there is something
beautiful and desirable about love and that it
is worth a sacrifice.

Wilbur Beadle, Lafayette, La.

TONIC IN "CAROLINA"

" Slow down ! Slow down ! " my doctor cried.
"It's high blood pressure."

"Hey, there, stop that fuss," said I, as I
rushed madly out to catch it. I just had to get
to " Carolina" on time- — and beautiful Janet
Gaynor did more to quiet strained nerves and
bring down high blood pressure, than all the
doctors could ever do.

The streamers on that flat blue hat were
long enough to tie up, in admiration, the
whole of Dixieland.

Nell Martindale, Raleigh, N. C.

LET'S ASK THE PRODUCERS

I have seen "Flying Down to Rio" and had
a glimpse of good individual dancing in a
movie musical. But does all the dancing have
to be eccentric dancing? Couldn't there be
modern interpretive dances in some films?

There is nothing, unless it be brilliant act-
ing, that surpasses beautiful dancing in
emotional enjoyment, for it combines three
of the arts, not only beauty of motion but
the artistry of living moving pictures, and
inspiring music. Such dancing is still out
of the reach of most of us. If only we could
have some of it in the movies!

Catherine Vory, Marshall, Mich.

WON'TCHA, PLEASE?

All the ladies are raving about him; no
wonder! He couldn't help but be talked about.

Please, oh please, Hollywood, give us more

of Fred Astaire and his hypnotizing foot action.

It's what the rest of us — who aren't such

whizzes at the art — are crying for. Can'tcha ?

Naidine Geberin, Peru, Ind.

At a time when we are all on the
lookout for spirited entertain-
ment, it is no wonder that so
many readers salute pretty Ginger
Rogers

Photoplay Magazine for May, 1934

^bu can't afford a dull head in business, today

f you've been up late the night
before, don't start the day with a head-
ache. And if an afternoon conference
catches you with a dull head . . . tired
out and washed up . . . clear away the
clouds with a refreshing dose of Bromo-
Seltzer.

You'll like the way Bromo-Seltzer
works — so quickly and effectively. Drink
it as it fizzes in the glass of water. As
it dissolves, Bromo-Seltzer effervesces.
That is why it so promptly relieves gas
on the stomach.

Then Bromo-Seltzer attacks the pain.
Your headache is soon relieved. At the
same time your nerves are calmed and
soothed . . . you are gently steadied,
cheered up.

And all the while needed alkali is be-
ing supplied to the blood through citric
salts which contribute to alkalinity.

No wonder you feel like another person
before you know it!

Bromo-Seltzer — the multi-purpose
remedy

Bromo-Seltzer is a balanced compound
of 5 medicinal ingredients, each of which
has a special purpose. Each of which
brings a needed benefit. No mere pain-
killer gives the same effective results.

Remember, too, you take Bromo-
Seltzer as a liquid — therefore it works
much faster.

Best of all, Bromo-Seltzer is pleasant
and reliable. Contains no narcotics. And
it never upsets the stomach.

You can get Bromo-Seltzer by the
dose at any soda fountain. Keep the
large, economical family-size bottle
at the office and at home. Ready at
a moment's notice to relieve head-

ache, neuralgia or other pains of nerve
origin. Directions on the bottle.

But make certain of the one and only
Bromo-Seltzer. Look for the full name
"Emerson's Bromo-Seltzer" on the label
and blown into the famous blue bottle.
Imitations are not the same balanced
preparation . . . are not made under the
same careful system of laboratory control
which safeguards Bromo-Seltzer. Sold at
druggists everywhere for more than forty
years. Emerson Drug Co., Baltimore.

NOTE: In cases of persistent headaches, where the
cause might be some organic trouble, you should of
course, consult your physician.

EMERSON'S

BROMO-SELTZER

Quick

Pleasant

Reliable

Photoplay Magazine for May, 1934

ofiow one simple act took
me "OFF THE SHELF"

and made me A IHta TTDV 4&

"He took me home at 10 o'clock"

TWO years ago I was on the
shelf. . . unhappy, moody, neg-
lected. Today I am in the thick of
things, and about to marry the nicest
man in town. And I owe all to the
fact that I discovered my handicap
and overcame it. Incidentally, it's
one that few women and few men
escape.

For several months I had been
going with Gerald — a brilliant and
successful young lawyer. I was
simply mad about him and he told
me he was more than fond of me.

Then one night an odd thing hap-
pened. He suggested we leave a
perfectly gorgeous party.

"Why Gerald, it's only 10
o'clock," I said.

"I realize that," he ex-
plained, "but I've got such
a wretched headache I can
scarcely see."

So home we went — he
in his corner of the cab
and I in mine.

Who says women have
intuition? Bah! I never
even guessed that the
headache was an alibi.

The same thing happened a few
weeks later at the Country Club Fair.
This time his excuse was an early
appearance at court the next day.

Popular Girl

That was the beginning of the end
— only I didn't realize it. From
then on we slowly drifted apart. *

Disillusioned, hurt, mystified, I
moped at home for a while. Then,
putting on a brave front, tried to
"go social" again.

"There's plenty offish still in the
sea," I consoled myself.

And so there were — but not for me.
New men called once — but that was
the end of it. Parties came and went
but I was not invited. Here I was
at 25 "on the shelf." What was
wrong? What had I done to merit
such treatment?

I simply did not know. And I
probably never would have known
if Gwen Jones, my favorite enemy,
in one of her prize moods at the
Woman's Club Bridge hadn't made
the innuendo so plain I couldn't mis-
take it.

My breath ... I couldn't believe
it! Me of all people, fastidious me
. . . with a breath that wasn't what
it should be. It couldn't be true!
But it was — my dentist settled that.

No wonder Gerald had dropped
me. No wonder others dodged me.
No wonder I sat home seven eve-
nings of the week. Much as I hate
Gwen Jones, I owe her a debt of
gratitude; her nasty little remark
changed my whole life for the better.
For six months now I've
been having such a whirl.
I'm popular again. And
last week Gerald came
back. We'll be married in
either May or June.

"I moped at home

There's no getting away
from it, halitosis (unpleas-
ant breath) is the fault
unforgivable. Socially
speaking it will hang you
higher than Haman. The insidious
thing about it is that you yourself
never know when you have it — and
even your best friend won't tell you.

How's your breath today?

Agreeable you hope, but is it? Dental
authorities say that everyone has hali-
tosis at some time or other. Ninety per-
cent of cases they say, are caused by tiny
bits of fermenting food that tooth brush-
ing has failed to remove.

The modern way to attack an un-
pleasant breath condition is to use Lis-
terine. Morning.
Night. Between
times before meet-
ing others. Listerine
halts halitosis be-
cause it checks fer-
mentation; deodor-
izes hours longer
than ord inary
mouth washes.
Lambert Pharmacal

"We'll be married in Co-> St- Louis> Mo-
June"

How's your breath today?

DON'T GUESS

USE LISTERINE

and be safe

Otto Dyar

PAT PATERSON has gone high hat ! At least, she did for her role in
the Fox picture, "Bottoms Up." Pat, you know, is now Mrs. Charles
Boyer. The French star came to Hollywood to have a fling at American
pictures, took a good look at Pat — and just a few weeks later, away they
went to Yuma for a marriage license! Pat has cracked several hearts

Eugene Robert Richee

TWO song hits — ready to warble in "Melody in Spring." They are
Ann Sothern and Lanny Ross. Ross is making his movie debut in
this film. And Paramount borrowed Miss Sothern from Columbia to
team her with the famous young radio star. The movie is in a romantic
Swiss Alps setting. We don't know whether Ann and Lanny can yodel

Ernest Bachrach

LOOKS like a tense and private moment! But since Kay Johnson, in
real life, is happily married to Director John Cromwell, and Charles
Starrett is the fond father of twins, it must be a movie scene and, there'
fore, public. Starrett and Kay are teamed in RKORadio's "This Man
Is Mine," in which Irene Dunne and Ralph Bellamy are also featured

Anthony Urgln

DID you know that Heather Angel's first role was that of a boy? At
sixteen in "The Sign of the Cross," on a London stage. And before
finally landing in Hollywood to find American screen success, the little
English star trouped all over India and the Orient with stock companies.
She is working right now on the Fox lot in "Springtime for Henry"

J^J^* / V fl TT D TAPT? PAYT TT

, YOUR FACE CAN HAVE THE FAIR FRESHNESS OF

iDince eyes share, with lips, in dominating
smart faces today, it is very important to take
extra care of the skin around one's eyes. For
this, Coty creates a very superior Eye-Cream
— honey-toned, honey-sweet. It helps erase
old wrinkles — and check new ones: $1.50.

(y^^U^1^7 /UA^ie_ £^L

On an earth new -decked with
orchard-bloom and green mead-
ows, what a pity if a lady's face
be dull! And why accept dull-
ness, when Coty presents powder
tones blended for each com-
plexion? Applied on a skin that
is truly clean, this Powder gives
you a vital look of bright youth.

To cleanse your skin, use Coty
Liquefying Cleansing Cream.
Quick-melting, penetrating, it
really removes obstinate soil, and
make-up, giving fresh beauty.

To "tone" the skin, and keep
it clear and firm, pat with pads
of cotton saturated with Coty
Skin Tonic— delicately fragrant.

To nourish the skin, Coty cre-
ates a perfect Tissue Cream, rich
and exquisitely scented, very
effective in discouraging lines
and wrinkles— from sun or years.

For lips, Coty presents a new,
perfect Lipstick that has been
quietly tried out- for the past six
months — by connoisseurs. In
ease of application, consistency,
permanency, beauty of color,
safety — it excels any Lipstick
Coty has ever before created !

Ask your favorite cosmetics
counter for Coty's beauty aids.

P
J

s~\

w ±

Decked in white jars, with cool water-blue
covers, Coty Liquefying Cleansing Cream,
generous jar — $1. Coty Tissue Cream $1.50.

Clear as a dew drop, Coty Skin Tonic has a
delightful, freshening effect that stimulates
the pores to their duties. Blue-capped: $1.

rJEW I Superb Coty Lipstick, indelible, easy to
Apply, cased in "gold" and vermilion — $1.10.
Face Powder — "powder-puff" box— $1.10.

ANN HARDING'S delicate blonde beauty will be seen on the
screen in natural color if plans are completed. The studio says
Ann will be starred in the first color picture to be made by RKO-Radio
under a new process. In the meantime, Ann is busy with "Alien Corn,'
adapted from the stage play which Katherine Cornell offered on Broadway

Kathryn Dougherty

SHALL alien actors be kept out of the United States, unless they can
establish their qualifications to the satisfaction of the Federal Government
and show they intend to play parts which cannot be filled by Americans?
The bill to that effect, fathered by Congressman Dickstein, of New York, and
approved by the House Immigration Committee, looks likely to become a law.
It is an unwise bill, a parochially minded bill, an unjust bill. It is conceived in
misunderstanding, and will defeat its very purpose — the alleged protection of our
native actors.

THE stage and motion pictures are, after a deplorably lean interlude, feeding
again on the fatter ration of increased theater attendance. The increase in
the number of picture patrons during 1933 ran into the millions. Here, as in other
industries, the cloud of depression has lifted, but not completely so. Whatever
will contribute to maintain this enlivened interest in entertainment should be
encouraged. If a new face, a new technique, — foreign though it be— stirs the public
interest, that, indirectly, benefits all players. Garbo, Dietrich, Lilian Harvey,
Anna Sten — certainly have added to the richness and the prestige of pictures.

THAT is not to say we have not many native actors equally great. Motion
pictures were invented and evolved in America. The American influence in
making pictures dominates the world. There will always be on our screen a ma-
jority of such superb native players as Katharine Hepburn, Joan Crawford,
Margaret Sullavan, Jean Harlow, Will Rogers, Clark Gable, Ann Harding, or
Ruth Chatterton — to name only a few.

We could not well dispense with any of these. But, on the other hand, who
would be willing to hand Garbo or Dietrich the blue envelope?

The sponsors of the restriction bill insist that there is nothing to worry about;
that real talent will not be excluded. But are we sure of that? If what the sponsors
say is true, why, then, introduce the bill at all? May there not be a "joker" in
this proposed act, which may prove to be far more exclusive than appears super-
ficial! v?

ART and artists are not national. They are international. As soon as you
localize, circumscribe, the spirit of artistry, it dies.
And Producer Samuel Goldwyn is quoted as uttering this significant warning:
"If Congress passes that measure, Hollywood will be half empty and actors will
be knocking at the Senate doors for doles.

"Suppose we stop the entry of foreign personalities — what is to prevent other

countries from boycotting our pictures with American stars? They won't just sit
back and take it, believe me."

EMIL LUDWIG, famous biographer of Napoleon, has debunked the scandalous
traditions of Filmland as no one ever has before. Listen to these excerpts
from Ludwig's article in the magazine Esquire:

"Any mother who is anxious about her daughter's virtue could not send her to
a safer place than Hollywood. . . ."

"No bourgeois society in America or Europe is more moral than these film
folk. . . . Apart from Spain and Italy, the last of the moral countries in Europe,
I have everywhere seen more powerful urges to erotic and sentimental adventure
than here, where such urges have been dulled by hundreds of movies and have been
so exhausted by thecamera that they attract nobody once outside the studios. . . ."

"A movie actor can be sent with greater prospects of success to any congress ball
or reception than can a diplomat or merchant. . . ."

"The patience of everybody concerned is the greatest virtue of the film world.
. . . I consider this training in patience the greatest moral result of themovies. . . ."

FOR those erotic interludes which animate or confuse work in the theater there
is here no opportunity, because rehearsals always take place in the light of
twenty gigantic lamps, and a couple of dozen pairs of eyes observe continually.
. . . Once work is begun, everyone has a feeling of complete detachment. . . ."
Ludwig found Hollywood "too rich." That is its one defect, he comments.
So this is Hollywood!

Herr Ludwig has so cleverly interwoven his paradoxes that it is impossible to
tell whether he is spoofing or spoofed.

WHEN they inadvertently stepped on a Russian bomb and it exploded,
officials of Metro-Goldwyn-Mayer must naturally have been somewhat
surprised. That noble pair of Russian exiles, Prince and Princess Youssoupoff — if
the verdict of the London court in the latter's suit against M-G-M for alleged
libel in the film, "Rasputin," stands — have come into the money. Twenty-five
thousand pounds — over $1'25,000 in American dollars — is quite a piece of change
for anyone to acquire in these lowered-standard-of-living days.

OF course, M-G-M was innocent of all intent to hold up anybody in an un-
favorable light in this or any other picture. That goes without saying.
Also, the defense claimed, the film characterization which precipitated the suit was
intended to be entirely fictitious. But the interpretation of English libel law seems
very precise.

The successful plaintiff, the Princess, also filed suit in the United States last
October for S^OCK^OOO. It will be interesting to watch the outcome of the case
on this side of the water, if it ever comes to trial.

IT'S a far cry from "The Follies," "Scandals," and other musicals, to Shakes-
peare, but — nine of Shakespeare's plays have actually been registered by various
film companies with the Motion Picture Producers and Distributors of America,
of which "Will Hays is president. Mr. Hays is hopeful for a Shakespearean cycle.
Perhaps that superb clown, Charlie Chaplin, may yet star as the tragic Hamlet.
It's said to be his life-long ambition, you know.

.Photoplay Magazine for May, 1934

^^/^j^^ Enjoys the Good Times

that come to Girls with
CAMAY COMPLEXIONS!

Get out of the rut of a humdrum
life. Enjoy the good things the
world has to offer.

Every day brings good times,
if a girl has a Camay Complexion.

WIN YOUR BEAUTY CONTEST

For everyday you live — like Helen
above — you compete in a Beauty
Contest. Why, you can't even go
for a walk down the street, but
what someone's eyes search your
face — judge your looks — and

notice the texture of your skin.

So get yourself a Camay Com-
plexion— a skin soft as velvet and
gloriously fresh. It attracts admi-
ration— yes, and often romance.

Camay, the Soap of Beautiful
Women, is pure, creamy-white and
unusually mild — the modern way
to care for your skin. Use it one
month, and you'll be delighted with
the improvement in your looks.

Get a supply of Camay today,
The price is amazingly low.

Pure, creamy-white and delicately fragrant, Camay
comes in a green and yellow wrapper, in Cellophane.

r &. Gamble Co.

AM AY The Soap of Beautiful Women

I FRlSttR FRI$

FRltftRSAlC

At fourteen, Greta soaped customers for
this barber in his shop

RETA

Greta, modeling a 1920 riding habit as a
Stockholm store employee

ARBO

anted to be a Tight Rope Walker

GRETA GARBO is planning on making her home in her
native Sweden. Many things prove this.
She has bought a house in Stockholm and a large
tract of land not far from that city, where she expects
to build a country home. An architect friend is working on
the interiors and designing the furnishings to suit her own
likes. Her brother, Sven, is already busy buying oil paintings
at auctions.

When Garbo was in Sweden, she was always on the lookout
for a house which she could buy. She did find one, secluded,
but not distant from Blekingegatan
32, the place where she was born.
It is an old farmhouse, and will
give way to a palatial home where
she may retire in complete comfort.

The house is located on a high
spot, with a view that especially-
struck her fancy. At this time she
is trying to buy the lot next to it, a
beautiful garden, which was once
owned by the Swedish king, Gustav
III, about one hundred and fifty
years ago.

Her friend, Svend Thoresen,
chief architect and art director of
one of the biggest department
stores in Stockholm, has been in
Hollywood making up the plans

under the personal supervision of Garbo. Some of the furnish-
ings were finished before he left Sweden. And here is what
Garbo is going to have:

The dining-room walls will be in oyster-colored wood and the
furniture in Chippendale style. The private yacht of Mr.
Edington, her former manager, has such walls, and there's
where Garbo got the idea. A Hindu prince, so they say, has
given her a couple of rare Persian rugs, and those she will have
on her dining-room floor.

The Garbo bedroom will be just like the one she has in
Hollywood. Big mirrors, a big bed, and many curtains about

Greta, launched in Swedish
movies as the buxom bath-
ing beauty you see above,
was a girl who thought up
the ??strangest things" to
make her relatives worry

By Leonard Clairmont

square miles of water.

the doors and windows. And the most important of all, lots
of butterflies all over the place — her favorite ornaments.

Next to the bedroom will be the gymnasium with showers.
Garbo loves cold showers.

Her study-room will look like a regular artist's studio. Lots
of pictures on the walls and big pelts on the floors. The ceiling
will have a great big window, with the sort of glass that nobody
can look through, and which will afford the room ample
softened sunlight. There will be six large armchairs, covered
with turquoise blue leather. And the big surprise — she is

going to have many guest-rooms
and a bar!

The servants will have a building
all by themselves — she had enough
trouble with a couple of snoopy
Swedish servants in the same house
in Hollywood. The kitchen will be
on the basement floor, as the cus-
tom is in France.

Garbo is preparing to build her
country estate just about an hour's
auto ride from Stockholm. The
place is called Dyvik and it was
bought for Garbo through her bro-
ther, Sven, who usually handles her
affairs in Sweden. It is located on a
peninsula and covers forty-five
square miles of land and forty-five
The beach itself is two miles long.
There are wild moose and plenty of pheasants around, and the
water is known to be a good place for fishing — a sport that
Garbo loves.

Her neighbor will be none other than King Gustaf of Sweden
himself. He'd be able to wave at his famous countrywoman
from his window across the bay at Tullgarn, the king's summer
home. The place has lots of chestnut and walnut trees and
the climate is supposed to be so mild that she can pick roses
until Christmas.

Here's probably what you have already suspected: the place

Extra! Garbo to Hollywood! Stockholm
papers front-paged the news

Today she is such an idol in Sweden kids
carry huge Garbo dolls

is so hard to find and to get to, that there is no doubt that she
will be left alone as much as she pleases. No roads lead to her
country place yet, but one will be built in the near future. A
lot of changes will take place on the virgin peninsula. Garbo
will build a little harbor for her own speed boat, which will
take her into Stockholm whenever she doesn't care to drive.
It will take less time to get to the city by water.

Her close friend, Max Gumpel, who was sometimes talked
about as the future husband of Greta Garbo, will build the
chateau close to the waterline, with a beautiful view over
Hastnasf jarden Lake.

It was ten years ago that Greta Garbo made her first suc-
cessful motion picture, "The Legend of Gosta Berling." The
picture was in two parts. Celebrating the ten years, the
Swedish Film Industry has once more released the picture,
this time cut down to a regular feature length and synchronized
with music and sound. In connection with the picture, the
Roda Kvarn Theater
in Stockholm arranged
a "Garbo Museum" in
the lobby, which cer-
tainly proved a lure to
the crowd. Pictures of
Garbo from her birth
to the Garbo of today
were exhibited.

•"THE writer of this
■*■ article has just fin-
ished something else in
honor of Sweden's
greatest actress. It is
a short reel called "The
Making of Greta Gar-
bo." In it you will see
the place where Garbo
was born and raised,
where she went to
school, held her first
jobs and where she
made her debut on the
stage. The real thrill
in this picture will be a
scene with Garbo her-
self at the age of fifteen,
the first time in her life
that she ever posed in
front of a movie camera.
1920. It's a scream!

During the making of this little picture, many interesting
details have come to life.

First to be filmed was the old house where Garbo was born.
A five story apartment house, built in the nineties. A gray

Greta at the start
of her film career.
She won success in
Sweden a mere ten
years ago

Garbo in Hollywood has become a personality to
fascinate and mystify the world

Garbo in a riding habit of the year

and sad looking house, indeed. Out-
side the house I met an old man. He

said he was seventy-eight years old

and had lived in the house more than

twenty-seven years and remembered

little "Keta" very well.

At first he wouldn't talk, but after

taking him to a neighboring cafe and

treating him to a couple of bottles of

beer, he spoke his piece. He told me

that "Keta," as Greta came to be

known to the neighbors, was born in

this particular house on September 18,

1905. She was named Greta Lovisa

Gustafsson. Her father died at the

age of forty-eight and Greta was the apple of his eye.

The little man said he knew Greta when she was running
around with pigtail braids. But
little "Keta" didn't have many
friends in her own neighborhood.
She always seemed to run away to
other neighborhoods and played
with other children. So Greta
Garbo hasn't changed much, after
all.

When Greta was fourteen years
old she got her first job — in a
barber shop. Her job was to
"soap" the customers, before the
barber did the actual shaving.
How would you like to have your
face rubbed with soap and hot
water by the great Garbo today?
This little barber shop was also
filmed. What I found out was
that Garbo later worked in an-
other shop during the Saturday
afternoon rush. Yes, she was
very ambitious.

Then Paul U. Bergstrom's De-
partment Store was photographed.
Here is where she worked at the
age of fifteen. The employment
manager, Mr. Lundgren, a most
charming man, was interviewed.
Garbo is his pet conversation and
he is mighty proud of her. He

still guards her first employment card with his life, but was

kind enough to let me take a peek at it. There it is stated that

her salary was one hundred and twenty-five kronor a. month,

which would amount to about seven dollars a week. Not bad

those days.

Mr. Lundgren tells with pride how Miss Gustafsson soon

Garbo's girlhood is recalled by those who knew her

Greta Garbo's birthplace was
this Stockholm apartment
house. Arrow points to the
very room. She is still re-
membered there as little
"Keta" Gustafsson, with pig-
tail braids

became a very clever salesgirl in
women's hats and coats. Here
she posed for advertising moving
pictures, and posed with hats
for the store's catalogue. Here
is where that sequence comes in,
where she poses in a riding out-
fit in front of a big mirror.

Did you ever know that the
first foreigners who got the
chance to look at Garbo were
the Japanese? Well, here's the
story!

After making that advertising
picture for Paul U. Bergstrom,
she was offered some more work
in that line. A grocery firm,
which owns a lot of chain stores
all over the country, wanted her
to pose for a movie. So she
posed in front of a big map of
Sweden and one of Japan, to-
gether with the Japanese min-
ister. This picture was exhibit-
ed in Tokio at the World's Fair
of 1922.

Greta Garbo's uncle, David
Gustafsson, is also in the cast of
this little short. David is a taxi-
driver and a good one at that.
He has his own cars.

David is full of fun, has a nice

little family and thinks a lot of Greta, even
though Greta wouldn't visit him on her last trip
to Sweden.

David Gustafsson used to be Santa Claus to
little "Keta." Greta's parents were poor and it
was always Uncle David she came to, when she
was in need of a dime or two.

' I 'HE uncle at that time had no children of his
"*■ own, so he found a pleasure in being good to
Greta and her sister, Alva. Alva was two years
older, and he says that he has never seen a more
beautiful girl in all his life. Alva died after
Garbo had become famous in Hollywood.

Mrs. Gustafsson remembers how Greta was
fascinated by Carl Brisson, the matinee idol of
Stockholm at that time. She would wait and
wait for hours outside the stage door of Mose-
backe Theater, just to catch a glimpse of him.
Sometimes she would sleep with bunches of his
pictures under her pillow at night! There was
no man in the world who seemed to Greta to
come up to this curly-headed athletic, good-
looking Dane.

Later, Brisson went to London, where he
became one of the most popular and
highest paid artists of stage and screen.
Besides, he was a clever boxer and
had fought many well-known
fighters. Now that Carl Brisson
is in Hollywood under contract
to Paramount, I wonder what
will come out of it.

[ PLEASE TURN TO PAGE 107 ]

David Gustafsson, her uncle, still drives taxis in
Stockholm. A man full of fun and reminiscences,
he tells of playing Santa Claus to Greta and her
beautiful sister, Alva

Greta at fifteen,
when she got a job
in the department
store. Beginning as
a salesgirl, she was
given opportunity to
model, and thus got
her first camera
thrill

Where Greta Gar-
bo's home is to be
built. A secluded
spot in a lovely area
near Stockholm,
she will have Kirg
Gustaf as a sum-
mer neighbor.
An ideal retreat

Gentleman
George

He prefers prize-fights to
opera and doesn't care for
pink tea society, but Raft
has his own chivalrous code

By Kenneth Baker

AMONG the most genuine gentlemen
Hollywood is a hard-fisted "guy"
who wascradledin "Hell's Kitch-
en," nursed by the fumes of
"de gas woiks" and the packing plant,
trained by the jersey-sweatered mugs
of Manhattan's toughest pool-hall
gangs, and polished by the lusty lar-
ruping of the prize ring and the pro-
fessional baseball diamond.
His name is George Raft.
He doesn't play gentlemen on the
screen; he plays semi-tough, sporty
roles. He doesn't play grand gen-
tleman off the screen either; there's
no sham in his make-up. He still
prefers the pals of his past to the
privileged peers of his new posi-
tion. He still goes to the fights
instead of the opera.

Instead of an Oxford accent he
still talks with a trace of the
"dese, dem and dose" neighbor-
hood of Tenth Avenue and

His roles are
seldom those of
a gentleman.
His most recent
part is that of a
young matador
in Paramount' s
"The Trumpet
Blows"

When he takes a girl out, next

day she gets flowers! Here is

George with Marjorie King

Forty-First Street. He hasn't a line in the Social Register, but
he's still on the roster of the neighborhood social hall. He has
never kissed a hand, ridden to hounds, contracted bets he
couldn't pay, made love to other men's wives, or slept in full
dress in the gutter — some accepted prerogatives of the "gentle"

Class. [ PLEASE TURN TO PAGE 86 ]

The Mammy and

Mae West sees a circus with a gang of orphans. On the screen or off,
she has the generous and understanding spirit of a mother

YOU thought you knew why Mae West is a wow from
Patagonia to Greenland; from New York City to
Kamchatka and back again. You were told that it
was those luxuriant curves, that blonde halo, those come
hither eyes. You joined the mob at the door of your local
theater and, after a couple of hours of waiting, the ushers were

able to find a seat for you some way,
somehow.

And then, when the deluscious Mae
finally appeared on the screen and
dazzled your popping eyes, you real-
ized you had not done yourself wrong
in coming, seeing and being conquered.
You knelt before this Venus, so rich in
opulent charms. I'm taking it for
granted you are a man that I'm talking
to. For, of course, the ladies in the
audience were taking in the situation
from a slightly different mental and
optical angle. They were dissecting
the reason for Mae's power over all
malekind.

Now, I rise up to say that all the
reasons so far assigned for Mae's mar-
velously seductive lure are all right, so
far as they go, but they don't go far
enough. The secret of Mae's strangle-
hold upon the feeble male, in particu-
lar, has yet to be revealed. So here-
with I am about to reveal it. And for
the first time.

"D UT, just a moment, please. Before
•*-T begin to give Mae's secret away, I
want you to consider this question:
Why does Will Rogers, that middle-
aged hombre with the homely face, dry
wit and sexless appeal, have a greater
screen following than Clark Gable,
Gary Cooper, John Barrymore, or
Leslie Howard?

Ah, not so hard a question to answer
as you may think. Sit tight in your
saddles. This may be quite a jolt.
Will Rogers' big draw is, in the last
analysis, akin to that of Mae West,
herself, the Queen of Sex.

Strange analogy, Mae West and
Will Rogers, yet they have in com-
mon the amazing gift of winning over
their audience, of giving that audience
what they get from no other star — ■
and that is an extraordinary power,
which weighs in the great human bal-
ance far more than mere good looks or
sex-appeal. They have something as
wide as the earth and as long as a life-
time. They both have one thing in
common: the parent appeal!

Yes, both of them have it to an
astonishing degree. That fundamental appeal of Mae West
that keeps everyone gasping, is, believe it or not, a maternal
one! The shape of her body and the shape of her spirit spell
mother in letters so large we would have read them and
understood them years ago if we all hadn't been led astray by
the naughty-naughty act she stages for our delight.

Daddy of Us ah

What, Mae West
and Will Rogers?
Maybe you won't
be so incredulous
after you read
this article

By George
Kent

I went into a neighborhood movie
house on a Sunday afternoon recently
to have another look at "I'm No
Angel." The theater was filled with
kids ranging in ages from four to nine.
They swarmed in the aisles, over the
seats, under the seats. It was like
sitting in a basket of puppies.

The way those youngsters went for
Mae! They understood only one
s'teenth of what she said, got none of
the nuance of what she did with her
hips — yet they loved her. They spoke
to each other about Mae, and it was as
if Mae were a member of the family,
a beloved aunt or somebody. Mae
gives sex a great play in this film, but
was it that that intrigued the little
boys and girls? Was it the naughty
lines, the hot-cha songs, the double
meanings? Answer for yourself — and
you'll answer NO!

The youngsters sat there and caught
an emanation which they understood
and to which they responded. A great
sunny gale of sweet temper, kindness
and human understanding blew out
from the screen and warmed them and
made them feel sure of themselves, and
happy. With the instinct of little ani-
mals they sensed the real West, the
girl beneath the diamonds; they were
conscious of a great, pulsating tender-
ness, simple, honest, unpretentious —
with a ribbon of fun around its neck.

It was mother, a better, bigger, rounder, more beautiful
mother, one who had time for them, a kind of mother earth
up on sparkling slippers and able to make wisecracks. If she
could have walked off of the screen into the audience, she
would have been covered with the infants, and they would
have kept her there, babbling their troubles and triumphs,

Rogers, always " the old man," is sympathetic and comforting. He
reassures you, as he did Margy (Janet Gaynor) in "State Fair"

and in the end they would have done anything she told them
to do — down to eating a barrel of spinach.

And as for Will. Will the beloved. He passes the same
tests and with the same high percentage. If ever a man was a
father, it's Will. He looks "the old man," he talks like him,
and he is everything we would [ please turn to page 100 ]

And Was Gloria

Burned Up!

Gloria Stuart, the
calm Scotch blonde,
has been taught by
Margaret Sullavan
that the girl who
raises a fuss gets
better roles

IT was a good war while
it lasted. That the op-
posing factions were com-
plete strangers doesn't mean
a thing. Lots of unacquainted
kings have put on some very good
battles. Boxers often meet for the
first time in the ring.

But so far, no one in Hollywood has
been brave enough to introduce Gloria
Stuart and Margaret Sullavan. And their
dressing-rooms are next door to each other at
Universal studios.

Margaret — dark-haired, fighting Irish. Stub-
born, argumentative, inconsistent, lovable — un-
predictable as a breeze.

Gloria — blonde, calm Scotch. Poised, controlled
dependable, amiable — a "sit tight and play out the
hand" girl.

And when scrappy Irish invade the sacred territory of

They took away her
dressing-room, they
took away her roles.
Was Miss Stuart mad !
Read what happened

By Ruth Rankin

calm Scotch — look out! It's that old im-
movable body and irresistible force trouble
again.

"Only this time," Gloria admits with a
reminiscent smile, "the body wasn't im-
movable! I was all set to take it right
over to China and be a reporter!" And
she was. But more of this later.

Beginning with the first round — it start-
ed when Gloria's dressing-room was handed
over to the newcomer. The nicest dressing-
room on the Universal lot, where Gloria
had been queen for two years. She never
took undue advantage of the fact, and she
made fifteen pictures in those two years.

Then along came Margaret, clicked in
"Only Yesterday," her very first picture —
and had everybody from Junior Laemmle
down to the prop boys jumping through
hoops. She was pulled off a plane headed
for New York, right in the midst of the
picture. Delays and hold-ups in the progress

Lowell Sherman
did wonders for
Connie Bennett
(shown with him
here), so Gloria
wanted him as a
director. But she
lost out

of the picture were credited to Margaret's eccentricities.

But no matter what she did, the new queen could not be
wrong.

"The situation is typical of Hollywood," Gloria says, im-
personally, and with no trace of bitterness. "Anything new
that comes along is grabbed up, lionized. Like the city girl
who goes visiting in a small town. The boys all give her a rush
and forget their home-town sweethearts — but eventually they
go back to them.

"Of course, I wanted to play the girl in 'Only Yesterday.'
So did almost every other leading woman in Hollywood.
Everybody made a test for that part. And I was completely
reconciled to the loss when I saw how wonderful Margaret
was in the picture.

"T COULD bear up under that, even though I would have
-^ given anvthine for the part. I could take a lot more —

*Ak

^dtJ

and did.

"But the real heartbreak was 'Little Man, What Now?'
That gloriously beautiful human story with the girl I have
been praying all my life to do — and they bought the story for
me. It was like having all my rarest, grandest dreams realized
at once. I was alive again. I forgot all the run-of-the-mill
ingenues, the deadly repetitions of similar parts — with now
and then an exception. I have never known an emotion so
great as the happiness I felt at the prospect of
playing Bunny in that picture. It would make
anything worth while.

"Then — they gave it to Margaret!

" Well, a fuse blew out in my brain.
I was sick with the utter futility of
my whole career and the way I
had conducted it. Suddenly, it
was revealed to me, in a blind-
ing flash, that sweet reason-
ableness will get you exactly
nowhere in Hollywood. By
the fastest route.

"You can't be a 'yes
woman ' in this town and get
along! I have said 'yes' to
parts I resented, in pictures
I knew were hopeless — know-
ing my progress would again
be stopped by stupid dialogue,
poor direction, sappy story.
But there was always the bright beacon
light of hope burning. Some day a story
like 'Little Man' would come my way.
I had been patient a long time.

WENT to Junior Laemmle and
-*■ frankly told him I didn't see how he
figured it out. Margaret Sullavan had
caused no end of trouble, embarrassment
and money to him and the studio. But
she was getting the gravy — while I had
to take the leavings. I have never
walked off a set, or argued over money,
or indulged in temperamental outbursts.
So far, I have had the parts that ask all
the questions, while the person opposite
me had all the answers. 'Stooges,' I
call my roles.

"Nevertheless, they have invested
money in me as a commodity. I could
not see how I was being valuable to them,
lost in the vehicles they gave me. I said,
'If you don't want me, let me go. Give
me a chance to get better parts on other
lots. I don't care where I get them —
just so I do.' But they wanted to keep
me.

"It isn't a matter of being starred. I

^fjjrjfl

^m "■■HiH

K ^

Btt. ^^^1

Wr ■fc^* m

r v^N

%. mt .-£

^Sta^^s

fthteta! J*&'

Margaret, fondling this baby in

"Only Yesterday," came near

causing Gloria to quit movies in a

huff and go to China

Margaret Sullavan, bru-
nette, fighting Irish lass,
who got Gloria's roles,
her dressing-room, the
nicest on the Universal
lot — and her goat

would rather not be. Would
much prefer to be one member
of a good cast, in a good story,
with a good director, where
there is some incentive. I en-
joyed my little part in 'The
Kiss Before the Mirror' more
than anything yet, because it
was a departure from the beaten
path, and it required a little
intelligence.

" So they promised me a
picture with Lowell Sherman.
And you know, what Lowell
Sherman can do for an actress
is nobody's business. He is a
woman's director. Look what
he did for Constance Bennett in
'What Price Hollywood?' and

[ PLEASE TURN TO PAGE 99 ]

Beauty Pursues

Earl Carroll

^§

IF Earl Carroll, that New York producer and connoisseur of
beauty who came to Hollywood to hunt new beauties for the
Paramount picture, " Murder at the Vanities," had had
even the slightest suspicion of what lay ahead, the sweet in-
nocent lamb would never have so much as left good old below-
zero New York. For strange as it may seem, the beauties
won't stand still long enough for Mr. Carroll to pick them.
What they want is for Mr. Carroll to stand still so they may
pick him, which just upsets everybody's plan all the way 'round.
For instance, they swarm, these beauties, all over the place.
They hide behind trees and pop out at him. "Oh, Mr. Carroll,
lookie! Can I be murdered at your 'Vanities'?" they lisp.
They hide behind telephone poles, Gary Cooper, the Academy
of Arts and Sciences, and have even been known to pop out
from under manhole covers directly in the path of his speed-
ing taxi, shrieking,
"Yoohoo, Mr. Car-
roll, lookie," which
just about throws
the man into the
nervous twitters.
And if he's twitter-
ing, you should see
the stalwart men of
the manhole depart-
ment of Hollywood.
They are simply at
their wits' end with

manholes popping up all over Hollywood. Exactly like corn
in a popper.

Why, really it's got so the poor man (this is Mr. Carroll of
New York we're talking about, in case you came in late) ac-
tually has to sit through rehearsals on a Paramount sound stage
on the highest rafters among the lights. Afraid to come down.
Baking and steaming among the giant sun arcs. Like a lobster-
red fawn. At bay. While below, the beauties go on with their
hunting. Turning over boxes and W. C. Fields. Peering behind
props and Gracie Allen's make-up box. Never giving up their
relentless, feverish search for Mr. Carroll. Never for a second.
While high above, unnoticed and unsung, he sits. Looking
like something that's about to be served out of a casserole,
and wishing he were back in his little grass shack atop the
Chrysler Building, or wherever it is.

"\y*OU see, when Mr. Carroll set forth on his Westward-ho
-*■ journey, he brought with him eleven of his own "Vanities"
girls and a chaperon, Mrs. Rooney (no relation to little Annie).
The plan was to have Mr. Carroll select eleven beauties from
Hollywood, to balance the eleven girls from New York, and
all twenty-two beauties to balance (what is this — an acrobatic
act? ) Paramount's movie version of Mr. Carroll's New York
show, "Murder at the Vanities."

So, a contest was arranged in the forecourt of Grauman's
Chinese Theatre, where so many stars leave their footprints
and things, and out of the girls who turned out only a few were
selected, because so many of the other beauties felt if only they
could see Mr. Carroll outside of a contest — well. And it's the
others, these hundreds upon hundreds of others, who have

The old maestro is
run breathless by
an eager pack of
chorus enthusiasts

By Sara Hamilton

ILLUSTRATED BY FRANK DOBIAS

gummed up the
works, as it were.

And a first class job
of gumming up
they've done, if you
ask me, for Mr. Car-
roll did not find
enough beauties via
the contest route — ■
and if you have the
face of Garbo and
Dietrich combined,
Mr. Carroll will not
see you out of a con-
test— so, several Par-
amount bit players
had to fill in. People
like Toby Wing and
Lona Andre. Nice
people, but think of
the countless manhole poppers and behind-tree-hiders who got
left. And are determined not to be left, if they have to kidnap
Mr. Carroll and have themselves chosen at the point of a gun.
Very weary and tired from the chase, Mr. Carroll went home
to dinner one night and the waiter brought in a silver covered
dish and heaven help us all, just as he lifted the cover, imagine
everyone's surprise when out popped a determined beauty
dressed as the spirit of filet mignon with mushrooms. And
practically frightened away what little wits poor Mr. Carroll
had left.

So, you see, he can't eat. He can't sleep. Twenty-seven
beauties have been hauled out from under the bed so far and
one, a gorgeous blonde, was discovered standing stiff and
straight on the dresser in a hula skirt pretending she was a
whisk-broom.

But Mr. Carroll soon discovered the deception. In less
than ten minutes he knew that here was no whisk-broom if he
knew anything. And he knows.

But really, looking at both sides of the situation, it's no
wonder these lovely little creatures fight, actually fight, to
become a "Vanities" girl. There is a feeling of pride, a feeling
of being guided and cared for, that is mighty rare and beautiful
in these unenlightened times.

But first let me tell you exact-
ly how Mr. Carroll
goes about selecting
these world-famous

beauties of his. If it's New York, and
he's casting for one of his "Vanities,"
the call goes forth that on Tuesdays and
Thursdays, he will select the beauties.

Very well. Tuesdays and Thursdays
come, and so do the girls with the stage
manager right there on the job. Quickly
and efficiently, the girls are lined up in
rows of twenties. The tall ones together
and the short ones together. Now, face
front. March. Down to the footlights.
Mr. Carroll runs a weary but experi-
enced eye over the line.

Squads right. March to the rear.
Mr. Carroll runs a weary but experi-
enced eye over the rear. Squads left.
Advance. Salute — or no — wait. I think
I've more or less wandered into the in-
fantry, but anyway, that will give you a
fair idea of the neatness and dispatch
with which the thing is done.

If in eight or nine Tuesdays and
Thursdays Mr. Carroll gets, say, twenty
girls, it's a good average (for any man)
he should certainly be a very, very happy
boy — only he isn't.

He must now proceed to turn the raw mate-
rial into the finished product. Those who are
underweight must be brought up to normal,
and the fatties must be brought down. And
all this, mind you, done under the guidance of
a physician (tck, tck, the life some doctors
lead).

THEIR coloring, hair, taste in clothes all
must be gone over until, as Mr. Carroll
says, one day, all of a sudden, they flower out
in their full bloom. Let the seeds fall where
they may. And neither, mind you, does
he believe in breaking their spirit.
Their heads, maybe, but never their
spirit.

"Beauties," he carefully
explained to me, "run in
schools, like fish. At
times, the fishing is
fine and a lot of
beauties are caught.
At other times, it's
slow and no beauties
are caught." And
at other times, I sup-
pose, the only thing
a man can get are a
couple of finnan-haddies and
hope for the best.

On the train coming out
Daddy (not a sugar one)
Carroll gave pep talks to the
girls and lectures on " Go on,
be a Hollywood playgirl and
see what Daddy Carroll does
to both your eyes." They
behave exactly as well trained
soldiers, and heaven knows
they've had enough "squads
right" to know how.

One of the girls was just too
too eager to meet Mr. Par-
amount. She'd heard so
much about him. " What's
he like? " she kept asking.

[ PLEASE TURN
TO PAGE 122 ]

Movies or Radio
For Lanny?

THE movies and radio both want Lanny Ross, but he's
not sure which one he wants. He likes to sing. He's not
sure yet about acting.

Ever since Lanny came to Hollywood, as the hero of a
national radio program, he has been riding with both horses —
because many letters entreated him not to go off the air.

And Lancelot Patrick Ross, B.A., LLB. (the B.A. from
Yale and the LLB. from Columbia) is afraid eventually he'll
have to give up one or the other. Which will it be? He thinks
he ought to know by the time his first picture, "Melody in
Spring," brings a reaction.

Anyway, he won't give up both and go to practicing law,
although Lanny is a member of the New York Bar. Even
while "boning" at Yale, he was leading the Glee Club; while
studying at Columbia he made his broadcasting debut on
a Christmas morning program (salary $10), and the day he
passed the Bar exam, he signed his first ether singing contract.

After all, the heritage of a Shakespearean actor-father, and
a mother who was Pavlowa's accompanist, isn't easily denied.

His prep school team-mates couldn't cake "Lancelot," so
now he's Lanny. This six-footer's "dates" are non-profession-
al society girls. So far Lancelot hasn't found his Elaine.

If he stays in Hollywood, he should travel fast toward star-
dom. Going places in a hurry is his habit. When a Yale
track man, he won the National A.A.U. 300-yard indoor
championship and established a new Yale record for the 440-
yard dash. In the Olympic tryouts of 1928, he won a place
on the United States team, in the 400 meter race. But he
gave up the trip to Amsterdam to tour with the Glee Club.

^Miss Universe"
Makes Good

SHE now would be a trained nurse, if she hadn't bought a
bathing-suit!

But Dorothy Dell did buy the bathing-suit. She en-
tered a bathing beauty contest — and that is how she became
"Miss Universe of 1930," and later landed in the "Follies."
She was sixteen then, and in Ziegfeld's show she sang a little
ditty entitled, "Was I Drunk, Was He Handsome, and Did
My Mother Give Me Hell."

A song like that is apt to make people notice a girl. If she
happens to have curves in the right places, big gray eyes and
blonde curls, moving picture producers probably will notice
her, too. Eventually, Paramount noticed Dorothy.

She once had a heart-attack over Russ Columbo, but thinks
it's funny now. She has had quite a few others — including
Jack Dempsey and Mario Braggiotti. Was rumored engaged
to both. Says now that marriage is out for at least two years,
and then the man won't be an actor.

When recuperating from a bad automobile accident, she put
on twenty pounds — and took them off in six weeks. She
drinks ten cups of coffee daily.

In the 1931 "Follies," she stepped in Ruth Etting's place,
during Ruth's illness, on fifteen minutes' notice — and wowed
them.

She is five feet, five and a half inches tall, and weighs one
hundred and twenty-five pounds. She walks miles and miles
every day.

Dorothy was born near Hattiesburg, Miss., and used to use
the last name of Goff. She attended a girls' school in New
Orleans. You'll see her in "Wharf Angel."

Belgian royalty watched while American movies were made.
In the center, gowned in white, is Queen Elizabeth. Be-
hind her, with his head turned, is the late King Albert. To the
left of them, dressed as a private soldier, is the young Crown
Prince, now King Leopold III. On the right of the Queen is the
late Thomas H. Ince

Just Leopold

Or, how a democratic Prince who was
to become a King delighted Hollywood

By James J. Tynan

EARLY on an October morning in 1919, the Royal
family of Belgium visited Hollywood.
It was only eleven months after the signing of the
Armistics, and the World War then was very vivid and
awful in memory.

To all Americans, Belgium was still the small, peaceful
country which was trodden upon by a powerful enemy and rose
to fight valiantly. Her ruler, the late King Albert, was a
favorite monarch, a great hero, whose challenging statement
to Germany, "Belgium is not a highway!" still rang around
the world.

So, when word was received that the Royal Family of

^ Belgium would visit Hollywood, ex-

/ citement ran high, and plans for a

fitting welcome began feverishly.

I don't know why the Thomas H.
Ince studios were favored by being
placed first on the royal schedule. For
there was a. mad scramble among all
the studios to top the list.

I was associated with Ince at that
time, and he assigned me to act as
personal escort to the Crown Prince
Leopold on the tour of the studio.

The day for the Royal Family's
Hollywood tour started almost at
dawn, for the schedule was a heavy
one. Early in the morning, every
star, every executive, ever)' extra was on hand. And, down to
the last detail, things were in readiness to go off with clock-
work precision.

Along the curved driveway stood a row of schoolchildren,
carefully dressed in their best clothes and each holding a basket
of flowers. As the royal cars swung through the studio gates
and up the drive, the children tossed the flowers in their path,
and the crowds welcomed the Belgian royalty with cheers.

In the royal party were King Albert, recently killed in a
tragic fall; Queen Elizabeth, now the Queen Mother of Bel-
gium, and Crown Prince Leopold, now King Leopold III.
The Crown Prince was my special I please turn to page 104 ]

Is Mr. Ricky Arlen
the villain who
spread the rumor
that Baby LeRoy is
through? If so,
LeRoy will fight it
to a finish with
Arlen

"'M burned. Good and burned.
In fact, I'm seething. And I,

.Baby LeRoy, want to tell my side
of this Ricky Arlen feud and put a
stop to all these ugly rumors that have
been floating about Hollywood con-
cerning the rivalry between Ricky,
son of Dick Arlen, the movie star, and
myself.

I'm getting just a little fed up with
all these reporters and interviewers
swarming all over my person and pry-
ing into my life (love and private),
and wanting to peer into my book of
telephone numbers, and eternally
asking me about Ricky Arlen, who
has just been featured in "She Made
Her Bed." (That's the picture they
were going to call "The Baby in the
Ice-box." These title changes are just
a sweet mystery of life to me.)

Just why, may I ask, should Ricky
Arlen, a new actor (hah!) on this lot,
reap all this publicity at my expense?
It's hard enough for an actor in this
racket to scare up his own publicity
and, certainly, I feel Ricky has shown
very poor judgment in cashing in on
my name. The one and only Baby
LeRoy. As they call Gary Cooper
and me, "The boys with the person-
ality." That's us, eh Gary?

Jealous

of that Kid? Phooey!"

Baby LeRoy

says

Ricky won the place in the ice-box LeRoy

wanted, in " She Made Her Bed," with

Sally Eilers. The Babe sneered, "Don't

tell me he's that hot"

It's true, I admit, that when
Paramount announced Ricky
Arlen was to have the role in
"The Baby in the Ice-box"
(and don't tell me he's that
hot. Why they didn't even
put Mae West in an ice-box),
and the reporters came racing
to me about it, I said, "And
who is Ricky Arlen?"

Yes, I said it. Simply be-
cause I did not know — except
in a vague sort of way — :who
Ricky Arlen was. Heaven
knows, I have a hard enough
time keeping track of Jack
Oakie's blonde babies, without
knowing who all the second
[ PLEASE TURN TO PAGE 105 ]

Clarence Sinclair Bull

MISS WYNYARD stopped on the staircase for a glance in the mir'
ror, and the camera caught both Diana and her reflection! The
photograph was made at her home in Beverly Hills. Miss Wynyard's
next movie will be "Dover Road," for which M-G-M loaned the lovely
English star to RKO-Radio for the feminine lead ODDOsite Clive Brook

The Robinsons

A FTER a hard day on the
■*- *-set, Edward G. Robinson
finds the den a pleasant place
for relaxing. Maximum com'
fort was the important thing
in choosing the furniture for
this room. We don't know
whether that barrel in the
corner is empty. But it does
make an attractive tray-stand

MR. and Mrs. Robinson and Edward, Jr., in their own
front yard. Mrs. Robinson noticed this house in
Beverly Hills, and hurried home to tell Eddie about it. He
went with her, and liked it so well he bought it that very day

Elmer Fryer

THE living-room is one of the most colorful rooms in the house. The tinted walls, the
light brocade upholsteries, the flowered drapes give it brightness and charm. Notice
that there are only drapes and blinds at the windows, insuring all the sunshine possible

Buy A New House

THE Chippendale influence gives the dining-room an air
of graceful simplicity. The wide, sunny windows with
leaded panes, the several bowls of cut flowers, and plants lend
the room color and an atmosphere of charming informality

EDWARD G. ROBINSON
has long been an enthusi'
astic collector of antiques.
When he purchased the house,
he sent to New York for his fine
collection, which he had been
keeping in storage there. One
of the choicest pieces is this
grandfather's clock, equipped
with a beautiful set of chimes

THE bedroom is very light and delicately colored. Walls are pastel tinted. The
coverlets on the twin beds are of quilted satin. An all -over carpet, matching the
walls, covers the floor. The curtains are of white net, and gracefully draped and ruffled

Clarence Hewitt

ONE of the world's greatest lovers, and a lady of his choice. They
are Fredric March and Constance Bennett, co-starred for the first
time, in 20th Century's "The Firebrand." The picture, adapted from
the stage comedy, is the story of Benvenuto Cellini, Sixteenth Century
goldsmith, whose fame as a lover almost surpassed his fame as an artist

Cruising Cowboy *%

Hoot Gibson packs
his riding kit,
loads his camera
and starts around
the world to shoot
motion pictures

By Kirtley Baskette

'OOT GIBSON is all set to
make the world cowboy-
.conscious.

If the platinum blond
has his way about it, they'll soon
be trading in their turbans in India
for American model ten-gallon
sombreros, and their grass skirts in
Hawaii for chaps. They'll be totin'
six-guns instead of shillalahs in
Erin, and holding rodeos instead of
raids in Arabia

Yes, Hoot's going out among 'em
.the first time that America's hard-
riding West or one of its sons has
been transported to any other
country to make pictures; the first

time that a bona fide cowboy star has ever ventured out of his
own stamping grounds to send back a cowboy character on
celluloid from without these United States.

Other Western stars have dreamed about it, have
made trips to England and other foreign countries, but
none has ever made a picture
there. Hoot has a contract
with Warner Brothers to
make "A Cowboy in

And what will June
Gale do when Hoot
starts on his tour?
The two have been
quite inseparable in
Hollywood

He won trophies for his skill at herding planes.
"They can't kill me," he says, grinning

Hoot's first stop will be jolly old

Teddington, where the English

Warners' studios are, to do "A

Cowboy in London"

London" in jolly old Teddington, England, where
the English Warners' studios are located.
And it's only the beginnin' — only the beginnin' !
When Hoot finishes the comedy feature, he plans to
start the world-wide screen barnstorming tour, taking
his hilarious, rough-and-ready cowboy character to every
colorful country in the world, getting him in all sorts of
amusing scrapes, and furnishing lots of fun for a screen world
which has missed Hoot in the character comedy roles, once
his most popular metier.

For this won't be the first time Hoot has discarded the posse
chase and the Indian fights to rollick slightly out of his usual
leather-dustin' character. In his time, he has made some
twenty or more comedies which demanded something else
besides horsemanship, trick riding and roping.

"The Gentleman from America," one of his best known of
these, was the same type of fish-out-of-water comedy that
"A Cowboy in London" will be. Hoot was also a sailor in
"Out of Luck," a baseball player in "Hit and Run," and a
fireman in "Hook and Ladder." Of course, he has made over
one hundred and fifty straight Westerns, so he's well qualified
to represent the colorful movie [ please turn to page 97 ]

CAL A * ^e Monthl

^Yr\nj/^-iJ-l LI L(J LLI Ltsl/I I'LL Broadcast o

You'd scarcely know him — with
his hair mussed up and him
scowling. It's Tom Brown,
young RKO-Radio star, keeping
fit with a medicine ball

LUPE VELEZ got spanked. Listen, please!
You know how Lupe, with her spon-
taneous outbursts, usually causes a lot
of lost time on a set. But not so on the film-
ing of "Laughing Boy," let me tell you. In
the midst of some of her didoes, Director Van
Dyke reached the end of his patience and
grabbing Lupe, threw her across his knee and
administered a good, old-fashioned spanking
where it should be delivered. And Lupe was a
good girl for the rest of that picture.

" 'TT Ain't No Sin'
A That's what

on stage 13."
the schedule
read. Mae West took one look and
said "No dice." From now on,
" 'It Ain't No Sin' on stage 14."

T ITTLE Caesar won't do for the Little
■•"'Corporal. In other words, Edward G.
Robinson isn't the type for Napoleon in
Warners' production, "Napoleon." That's the
statement which conies from a source seldom
guilty of mistakes. They have tried over a
thousand make-ups on Eddie and somehow or

other the great emperor's phiz just won't
jell. Warners is said to be now considering
Charlie Chaplin for the part. It is a role Chap-
lin has always been ambitious to play. Ernst
Lubitsch, the director of those subtleties, "The
Smiling Lieutenant" and "The Merry Widow,"
is also said to be in the running for the part.
Abroad Lubitsch is known not only as a
director but as a dancer and a comedian.
He entered a Berlin studio in 1913.

TDA LUPINO, the English starlet who came
to America about a year ago, is showing
flashes of temperament all over the Para-
mount lot, and the studio, as a whole, is pretty
much bored with it all and hopes the little
lady will soon settle down.

There's too much talent holding forth in
Hollywood for anyone less than a Garbo to
become tiresome these days.

T EE TRACY who is staging his screen come-
-back in "I'll Tell the World" for Universal,
refused enormous sums to make personal
appearances throughout the country.

Ginger Rogers prefers to take her exercise in the water. Just now
Ginger is on her mark, set and ready to dive from a skiff

"I didn't mind making personal appear-
ances but I certainly didn't intend cashing in
on any such publicity," Lee said.

He also refused several flattering offers to
make pictures in England.

"I wouldn't have minded the England
thing, either," he commented, "but it would
have been too much like running away. I
wanted to stay here and fight this thing out
on the home ground.

"I have tried to make my comeback in an
honest and fair manner, and I believe I've
started on the right road back," says Lee.

Anticipating a tremendous success for his
first picture, Universal has signed Lee for three
more.

A DARK shadow around the eye
"^^ of Madge Evans recently in-
spired a number of curious questions
as to its origin.

To which Madge calmly replied,
"Did you ever see a door
walking?"

Well, she did. That's her story.

T~)OUGLAS FAIRBANKS, Jr., has just rc-

■^"iused two offers to make pictures in
Hollywood. And for the quaintest reason jet.
Doug says his long distance phone calls to
Gertrude Lawrence in England would more
than eat up the extra money he would make
in American movies.

Doug's friendship with Miss Lawrence be-
gan eight years ago and, through all the years,
even while married to Joan Crawford, they
have corresponded. It was only on his recent
trip to England, however, that the friendship
ripened into love.

''I can't understand why I didn't realize
how marvelous Miss Lawrence was when I
met her eight years ago," Doug told friends
in Hollywood, "unless I was just too young
to appreciate her."

So it looks as if this were a real romance in
spite of rumors to the contrary.

\\/L can't bear it. DeMille is planning still

another bathtub sequence for his new

picture, "Cleopatra." And this time, believe

it or not. it's a bathing scene with men. And

With Bruce Cabot, exercise is a serious proposition. Not even one small
smile from Bruce when he's doing his slim-waist routine

Clive Brook likes to take his daily
dozen on a sunny tennis court,
knocking balls around, chasing
them with his dog. He has his
own private court

what men! People such as Cassius, Brutus.
Caesar and Anthony will cavort in the bath-
house number.

""T\0 you know who I think has
the funniest face I ever saw?"
Rudy Vallee asked some friends in
Hollywood.

"No, who has?" they asked.

"I have," Rudy said. "Look at
my map. I'd give anything to have
a little better looking mug but there
it is."

Ah, is not fame sufficient, Rudy?

■>J

lingers in the astute minds around the village
that Lyle is not unaware of the news-value of
such doings. His previous escortee was the
Countess di Frasso.

COOING outs of the month:

Rudy Vallee stepping with Peggy Hop-
kins Joyce; Joan Crawford keeping Francis
Lederer's dressing-room at the El Capitan
Theatre fresh with gardenias (when he was
playing "Autumn Crocus"); Katherine De
Mille trifling with Dick Cromwell's affections
by attending the Garbo premiere at the Chi-
nese in company with Henry Wilcoxon, papa
DeMille's Mark Antony; Russ Columbo break-
ing several girls' hearts by whirling Carole
Lombard over the floor at the Beverly-
Wilshire; George Raft and Virginia Pine cir-
culating together.

"LTOLLYWOOD fashions have scored again.

They're just about all right, in the

opinion of Grace Moore, who admits having

Mr. and Mrs. McCrea are so much in love,
they won't work in the same picture. Joel
says Frances would give him all the
breaks, and she says Joel would give them
to her. Joel's to do "Alias the Deacon,"
and she's in "Finishing School"

"VJO one on the set realized that Dick
Powell of the ever ready smile and un-
failing good humor was singing those catchy
tunes and going through his daily work with a
splitting headache.

Dick kept it to himself until the picture
was over and then quietly took himself off
to a doctor.

"Nothing to worry about," the doctor said,
"it's eye strain and too much work under the
Kliegs. Go away for a rest."

So Dick jumped in the car and drove to San
Francisco where he worked long hours re-
hearsing for a Coast to Coast broadcast.

Anyway, the headache let up and Dick is
back once more under the bright lights.

■"THE very last gasp in late romances — Lylc
- in and taking Alice
. And a dark suspicion

Talbot is horning
Faye here and there.

It's all over but the
handshake. She's
an M-G-M star
now ! Gloria Swan-
son and Irving
Thalberg, after con-
tracts were signed
placing Gloria
under the banner
of Metro

The honeymoon
won't ever be over
— judging by that
exchange of amor-
ous glances!
Virginia Cherrill
and Cary Grant
were caught re-
cently while at-
tending a preview

"gone Hollywood" as far as clothes are con-
cerned. She's capitulated entirely and an-
nounces that from now on Howard Greer
will make all her clothes.

The former Metropolitan opera star, who has
heretofore relied on the modistes of New York
and Paris, should know. She has always been
cited as one of the world's finest dressers, a
close friend of famous fashion magazine peo-
ple, and whatnot.

TS Jimmy Durante worried sick? It seems
that someone gave out his birth as Febru-
ary eighteenth, instead of February tenth, and
in spite of all the presents and messages that
poured in on the eighteenth, Jimmy is frantic.
He doesn't want his birthday on the eighteenth.
He wants it where it belongs on the tenth
because, as Jimmy says, he is now under the
Aquarius sign and that designates brainy

men. And a little danger of trouble with the
knees but, as he explains, he's willing to have
the knee handicap in order to be a brainy man.

The eighteenth throws him under an al-
together different sign and Jimmy is simply ill
over it.

Even went to the publicity department
about it and asked that they officially correct
the mistake. Jimmy is going to remain a
brainy man or know why.

EAVE it to Lupe Velez to say
"^what she thinks. Recently an
interviewer queried her about the
marital situation with "Tarzan"
Weissmuller. "We are fighting our
way to happiness," declared Lupe.

r^ B. DeMILLE'S statement "There are
^* ~no actors in Hollywood — only types," has
brought out an avalanche of letters. An actual
count finds five to one from Iowa — and all of
them just want to let him know that if they

1 MiBiiw ?y

were only in Hollywood, he would have no
complaint to make.

ONE of the Earl Carroll girls,
^^ dressed in a revealing costume
for her scene in the picture, "Mur-
der at the Vanities," walked up to a
technician who stood staring at her
through his glasses. "What's the
matter?" she asked, pointing to his
glasses, "do your eyes hurt you?"

"Why, no," he said.

"Well," she said with a look that
froze him, "they hurt me."

And during the rest of the scene,
he looked the other way.

HPHE situation was rather tense at a Holly-
wood party when the Countess di Frasso
arrived just after Gary Cooper and his bride,

Pals in England,
where they made
pictures, Henry
Wilcoxon (left) and
Carl Brisson, the
Dane who knew
Garbo in Sweden,
get together again
at Paramount, in
Hollywood

A German star as a
Russian Empress.
Marlene Dietrich,
looking regal and
alluring in a high
sable cap, dressed
for her role of Cath-
erine the Great in
Paramount's
"Scarlet Empress"

Alice White lingers over an eight of dia-
monds, while Sally Eilers and " Skeets "
Gallagher exchange we - have - 'em - set
smiles. Alice's partner is Harry Joe
Brown, Sally's husband. The game is at
the Ambassador

as everyone knew that Lupe had also been in-
vited. And it did not help matters when the
guests realized Lupe and the Countess were —
well, not exactly friends. And then imagine
everyone's surprise when Lupe flung herself
at the Countess and the two were in whispered
conversation all evening long as snug as two
bugs in a rug.

r^LARK GABLE started it all when he in-
^^itiated his racing stables.

Now Ann Harding has broken down and
started a string of steeplechasers. Ann, prac-
tically raised in the saddle at the many army
posts she lived at as a girl (her father, you
know, was an army major), saw the loveliest
stretch for steeplechasing out on the skirts of
the desert, and promptly ordered a track set
up. The horses are coming from Houston to
carry Ann and her friends over the hurdles.

[ PLEASE TURN TO PAGE 80 ]

What price has Griffith
got for so much glory?
He denies he is ?? broke"

By Mildred Mas tin

the names on the signs were different. Next week
they will be changed again."

It was a theatrical statement, made by a man who
has a talent for expressing simple truths in a melo-
dramatic way.

The man was David Wark Griffith.
Recently, a columnist wrote that the director is
broke, in need. If that is true, Griffith does not admit
it. He points with pride to several rare pieces of
antique furniture in his apartment; to his library, its
walls lined with finely bound books. He speaks
casually of a winter vacation in Florida, of the pleas-
ant, leisurely hours he is spending now, rewriting
some plays.
Thus, subtly, he denies rumors that he needs finan-
cial help. For he is intensely proud.
Griffith should be wealthy today. He is not, be-
cause, like most artists, he lacks good business
sense.
Many major improvements in picture mak-
ing were invented or initiated by David
Wark Griffith. A clever business man
would be collecting royalties. Griffith
collects nothing — except occasional
praise, when someone is feeling senti-
mental.
There was a time when motion

When David Wark Griffith
was a great man in movies.
This rare picture reveals
him directing a scene for
"Hearts of the World," in
1918. Billy Bitzer is on
the camera stoop

AT the window of a tall Man-

AA hattan hotel, a man stood
J[ ^looking down at Broadway.
From the window, twenty-two
stories above the street, he watched hun-
dreds of dancing, burning electric signs,
screaming the names of movies and their stars.

For twenty years the man had been the out-
standing creative genius in motion pictures. He
was idle now. Out of the game.

"Movies," he commented slowly, "are written in
sand. Applauded today, forgotten tomorrow. Last week

pictures were jerky, ^H

jumping awkwardly ^

from one scene to another. ^B

Griffith strove to find a way ^H

to smooth them out. He made a
little gadget with the top of a cigar-
box. And the "fade-out*' was born.

Griffith was delighted. Sequences
could be ended artistically now, fading out
merging smoothly into the next scene.

"It improved pictures tremendously
says enthusiastically. Then adds, " I never thought
of patenting it."

If he had, the royalties would be running into millions.
For the fade-out is used in every picture that is filmed today.

It was Griffith who first conceived the idea of taking
close-up. His rivals and associates thought them very funny
■ — filling the screen with a single face or detail. But they
couldn't laugh Griffith down. Perfecting the idea took time
and money. Only Griffith believed that the close-up would
permit dramatic expression, a still kind of beauty, that movies
must have, if they were to exist as an important medium
entertainment. And Griffith was right.

It was Griffith who first
gambled on lengthening pic-
tures. In the early days, all
pictures were one-reelers.
Quick, flashy, too short to tell
a story. Griffith decided to
make a two-reeler. People
thought he was mad! The
two-reeler was made.

EXHIBITORS refused to
show it. Finally they put
it on —one reel one night, the
second reel the next night.
That, incidentally, was also
the beginning of the serial.
The first picture that
mijjht properly be called of
epic dimensions was a Griffith
gamble — "The Birth of a
Nation." Griffith did not
produce that picture because
he thought it would make
money. (And, of course, he
got little money out of it. He

doesn*t even own the film today.) He planned it because, he
says, he wanted to tell the North the truth about the South.
As a child he had sat in a Kentucky schoolhouse and read, with
bitter resentment, the story of the Civil War, always written
by a Northerner. Some day, he promised himself, he, a
Southerner, would tell the story.

Every import a nt
picture that Griffith
made was horn of a
j^reat human impulse.
If it was expensive to
express the thing he
had to say. Griffith
did not economize.
But he was never ex-
travagant in the spec-
tacular, superficial
way that some others
have been.

He produced over
four hundred films.
And the total cost of making them was approximately twelve
million dollars. The gross profits from the pictures were five
times that — slightly over sixty millions. Only a small part of
these profits ever found their way back to Griffith. When they
did, he usually tossed the money, with reckless courage, into
another picture. [ please turn to page 95 ]

Remember when these outstanding celebrities organ-
ized the United Artists Association? Left to right:
Doug Fairbanks, Oscar A. Price (Association presi-
dent), Mary Pickford, Griffith, Chaplin

By Ruth
Ran kin

Back in carefree days,
when he was "Jack"
to all his following,
one of Barrymore's
great stage roles was
in " Redemption "

Jack the
Bachelor

Bohemian Jack Barrymore in
his New York apartment, liv-
ing like a bachelor in 1919

DISTINCTLY vinous aroma caressed the
nostrils from two flights below, and as we
^ mounted the steep stairs it fairly swarmed
out to greet us.
Reaching the top floor, Jack Barrymore flung the
door open into the immense room, formerly the attic
of the old house on New York's Washington Square.
The sudden view of the interior, after the conven-
tional red-brick-and-white-doorway outside, hit one with a
staggering impact.

Nothing this side of genius could have achieved such a
fantastic disorder.

At first glance, it appeared likely that Jack had just moved
in, and the movers had dropped four van-loads of furniture in
the middle of the room and departed. Or maybe an earthquake
just had a little "at home" up there.

But no. This had been Jack's home, touch and go, for three
years between Palm Beach, Woodstock and Europe. At the
moment, he was on the verge of a week-end at Southampton.

It was after an evening performance of Jack's stage triumph,
"The Jest." His dresser from the theater had preceded us.
With calm and sanguine philosophy he endeavored to promote
some kind of order in a chaotic wardrobe, tossed around the
room.

Barrymore's ruling passion for Italian decor had completely
filled the studio — about two years before, one could easily
estimate. Two trips to Venice later, and traffic in the huge
place was seriously obstructed. To reach the studio windows
at the far end, you leaped over or crawled under an assortment
of Italian antiques that were a collector's dream of heaven.

A priceless desk that once inspired Lucretia Borgia to write
bigger and better prescriptions, a thrilling little gem of a desk,
gleamed with age-softened green and gold splendor. The top
was heaped with a gaudy profusion of tinted, perfumed letters —
here and there the yellow gleam of a telegram, unopened.
Letters, telegrams, cables everywhere. All unopened.

"Lot of fool women." Jack waved a careless hand that
dismissed them.

"Don't you open even the telegrams? Might be something
important," we suggested.

"Opened one once. Nothing in it. Read 'em. You'll see."

We read three. A lady desired his autograph. A lady desired
a flower he had worn. A lady on Park Avenue desired his
presence at her dinner party. Desired is scarcely the word.
She begged, pleaded, flattered, cajoled, all over three pages.
We sometimes visualize the poor dear lady — her perfect dinner
party all planned, the guests assembled, breathlessly awaiting
the lion of the evening — who never showed up. Who seldom, if
ever, showed up, and left such a lot of poor dear ladies waiting.

The nearest corner of the [please turn to page 113 ]

John the
Husband

Domesticated John Barrymore
at his home in Beverly Hills,
enjoying family life in 1934

BY that subtle and mysterious alchemy known as
a happy marriage, "Jack" has now metamor-
phosed into "John" — the perfect husband's
name.
The Barrymore home stands on the knoll of a hill
commanding one of the most glorious views in Holly-
wood.

To reach it, one ascends a tortuous road that com-
pletely encircles the house. But the view would be
worth climbing up on your hands and knees to see.
The ocean is nine miles away — and it looks as if you
could reach out and dip your fingers in it.

At night the place is lighted like a carnival — it can
be seen for miles.

The hill is one that forms the background of
Beverly Hills. At the left, twelve miles away, spreads
the city of Los Angeles. The outlook from the great
studio windows each evening appears a fairyland of
myriad sparkling

gems, sprinkled in a
far-flung circle.

A man should feel
like a king, living in
such a paradise. And
John Barrymore
does. His home is his
castle — inviolate, ap-
proachable to only a
few intimate friends.

The house is really
five houses in one —
each room or apart-
ment a separate
house in itself. The
first contains the
great living-room.
The initial object that
meets the eye is the
Paul Manship profile
— minus the candle-
wax. Taken serious-
ly as a work of art,
now. A distinctive
decoration enthroned
on the mantelpiece.
The spirit of levity is
part of the past.

At one end of the
room stands the grand
piano — and it can be

John and a favorite pup on
where order and

the grounds of his impressive home,
harmonious routine prevail

Paul Manship's famed
profile of Barrymore
greets the visitor at
John's home. The
door is from an old
Mexican cantina

reached without hurdling a
single piece of furniture.
On the top, it wears a hand-
some collection of family
photographs and rare ob-
jects of art.

There is no formal dining-
room, but a long refectory
table at the far T-shaped
part of the room serves as a

[ PLEASE TURN TO PAGE 114]

?<!

eware

theD

anger

Sylvia advises Glenda Farrell of the importance
of that "tailored face" effect, and how to
keep her skin free from tiny, tell-tale lines

DEAR GLENDA: I'vecertainly
got to hand it to you. You're
one of Hollywood's prize "pic-
ture stealers." When you're on
the screen, nobody looks at anything
but you — and there's a reason.

Hundreds of girls can learn a big
lesson from you. When you step in
front of the camera you seem to be en-
tirely unconscious of your attraction.
That's the lesson. I want every girl and
woman in the world to make herself as
beautiful as she can be — but when that
is accomplished, she shouldn't be preen-
ing herself all the time and giving off the
attitude, "Look at me — see how beau-
ti-ful/ am."

Believe me, Glenda, you and I have
seen plenty of that in Hollywood. You

know, those girls with vacuous, empty faces, who think they're

doubles for the Venus de Milo, and tell you so with every

movement they make. This isn't exclusively a Hollywood

trait, either. You'll find those girls from Maine to Mexico.

That's why I hand it to you, Glenda. You're not that sort.

And you're smart in another way. You

know you haven't regular features, but I'll

Sylvia

stake my reputation on the fact that
ten years from now you'll still be going
strong on the screen. That's because
you're intelligent and make the most of
what you have.

You have a wide, generous mouth —
too big to be called beautiful — but you
have sense enough to know that a
mouth like that spells charm and heart-
warmth. So you don't try to make it
look smaller than it is. That's great.
More power to you!

You have something else that's won-
derful (I'm certainly in a praising mood,
but you deserve it). Whoops, girl, what
vitality you have! I saw you recently
in "Dark Hazard." It was a racing
picture, with you supplying most of the
raciness. It's wonderful to see that
vitality just oozing from the screen. And vigor is what I'm
most enthusiastic about. When you've got that, the big, bad
wolf — age — is kept away from your door.

A picture career is a tough racket. Life is a tough racket,

too, and unless you're loaded to the eyebrows with vitality

you'll never get by successfully in either. So much for that!

Now, because 1 think you're such a grand girl, and because

when I'm seventy I want to see
you on the screen, I'm going to
give you a few tips on how to
preserve what you've got. You're
no ingenue, Glenda. You know
that as well as I do. You're the
mother of a half-grown son —

Miss Farrell has a lovely,
youthful figure. And Sylvia
prescribes a simple daily
routine, which will keep
any good figure perfect

(jrlenda! Wa

arns

whom you adore — and you want to keep young, not
only to make that kid proud of you, but also for your
career. Your figure is neat. It reminds me of one of
those new streamline trains. But you've got to watch
your face.

You have a couple of fine lines which extend from ,
the nose to the corners of your mouth. Then there
are some lines in your neck, and you have just the
suggestion of a double chin, darling, with that first
breaking line under your chin. All of these can
be corrected. They can all be stopped from
getting more prominent. And that's just what
I want you to do.

*Y"OU know that you can't afford to get fat.
■*■ When you do this, you burden your face
with muscles that are hard to reduce. So
start today, right this minute, to eliminate
those lines and keep them away.

I want you to make a simple face pack
of two tablespoons of almond meal, ten
drops of glycerin, juice of half a lemon,
and enough skimmed milk to form a
pretty solid paste — neither dry nor
thin.

Now wash your face well with
lukewarm water and a mild soap.
Rinse in lukewarm water and
don't dry it very thoroughly.
Lie down on your bed with a
towel over your pillow and put
this paste all over your face f

and neck, and don't forget
the back of the neck. Also
while you're about it, you
can give your elbows a
dab or two. . ,

In a couple of min-
utes, you'll feel your
skin tingling as if
someone had just
given you a big
compliment, and
there will be a

via

A five minute
facial and Syl-
via's simple,
home-made pack
will erase those
lines and keep
them from ever
getting prominent.
Any one can do it

feeling of heat spread-
ing over your face.
A half hour or forty-
five minutes later, get
up and wash this off with
lukewarm water. You'll
notice that the paste has
cracked in just the lines
which need correcting. Get
the idea? Finish off the treat-
ment by dabbing your face
with ice cold water — don't ap-
ply real ice, use the cold water
instead — and then for another
hour don't put on any make-up.
Give those pores a chance to
breathe and react to the treatment.
This should be done at least once a
week.

This treatment is as old as Cleopatra,
but it's wonderful, and your skin will
be silky and smooth when you've fin-
ished. Just see if I'm not right.
Now try at all times to keep your face
looking tailored. Uh-huh, I thought you'd
ask me just what do I mean. By a tailored
face I mean one that doesn't look haggard
— one that is firm and entirely free from
sagging muscles or sacs under the eyes.
That means that you can't have more than
a couple of [ please turn to page 88 ]

Also, on page 88 are
Sylvia's Answers to
Personal Letters!

Select Your Pictures and You Wo

n't

THIS MAN IS MINE—RKO-Radio

THIS delightful society comedy-drama won't put you in
stitches, but there are lots of satisfactory chuckles. The
sparkling dialogue, excellent taste and casual naturalness
are a joy.

A grand girl named Tony (Irene Dunne) is happily mar-
ried to Ralph Bellamy. Fran (Constance Cummings), his
old flame, comes back to town, and can't tolerate the
thought of her old beau married. She goes to work on
Ralph. Success. But Tony handles the situation master-
fully.

Kay Johnson deserves a big share in the honors as the
sees-all, knows-all sister, with pertinent remarks from side-
lines. Sidney Blackmer, whom Fran brought along for the
ride, is perfect. You simply must see this!

BOTTOMS UP— Fox

UNIQUE musical numbers ("Bottoms Up" and "Wait-
ing at theGate for Katie"), fast and fresh dialogue, a
logical story with a Hollywood locale, clever direction, and
some hilarious situations make this gay entertainment.

Spencer Tracy, a big-talk promoter, puts over Herbert
Mundin, a fancy check-artist, as an English lord, and Pat
Paterson, discouraged extra girl, as his daughter. Through
tricky publicity, Spencer gets Pat a studio contract.

Harry Green is the baffled producer, John Boles an
alcoholic leading-man reformed to buttermilk by Pat. Sid
Silvers' comedy is brand new. Tracy's performance is a
topper. And newcomer Pat Paterson is okay.

Perhaps you've turned thumbs down on musicals, but let
us urge you to see just one more. This one!

The

Shadow
Staffe

fREC. O S.PAT OFF.) ^^^^^J

THE HOUSE OF ROTHSCHILD—

20th Century-United Artists

GEORGE ARLISS plays a character perfectly ordered
for his rare talent in this impressive, historic story of
the great European Jewish banking family of five sons
raised amid anti-Jewish pogroms and persecutions in Prus-
sia. "All for one and one for all" is their motto.

Carrying out the dying wish of their father, a patriarch
of the Red Shield in Frankfort, the Rothschild brothers
spread to the various financial capitals of Europe. The
great mystery of the continent is their system of obtaining
first-hand information.

Nathan (George Arliss) becomes the money power of
London, head of the international house.

Despite his help in toppling Napoleon's throne, by financ-
ing Austria, Italy, Prussia and England for a war against
the French Emperor, anti-Semitic houndings persist until
the escape from Elba. At which time Rothschild's persecu-
tors are forced to finance Waterloo, on the outcome of which
Rothschild stakes all.

Some thrilling scenes show his final great triumph.

Loretta Young, as Arliss' daughter Julie, and Robert
Young, as an aristocratic young colonel, play a tender
Jewish- Gentile romance obligato. C. Aubrey Smith, Boris
Karloff and Helen Westley are grand in character roles. _

If you are fond of Arliss' characterizations, don't miss
this. It is one of his very best.

Have to Complain About the Bad Ones

The Best Pictures of the Month

THE HOUSE OF ROTHSCHILD RIPTIDE

THIS MAN IS MINE BOTTOMS UP

THE CRIME DOCTOR GEORGE WHITES SCANDALS

MYSTERY OF MR. X DAVID HARUM

The Best Performances of the Month

George Arliss in "The House of Rothschild"

Norma Shearer in "Riptide"

Herbert Marshall in "Riptide"

Kay Johnson in "This Man Is Mine"

Spencer Tracy in "Bottoms Up"

Otto Kruger in "The Crime Doctor"

Cliff Edwards in "George White's Scandals"

Will Rogers in "David Harum"

Spencer Tracy in "The Show-Off"

George Breakston in "No Greater Glory"

Lionel Atwill in "Beggars in Ermine"

Casts of all photoplays reviewed will be found on page 120

RIPTIDE— M-G-M

EDMUND GOULDING, author and director, hereby
covers himself with glory. He gives us a brilliant psy-
chological study of a normal, well-bred English gentleman
who becomes a victim of the slow, insidious poison of
jealousy.

Comparatively, there is little physical action in this film,
but the mental drama is terrific and tense. The picture,
therefore, is slyly sophisticated — entirely and intriguingly
civilized. Mr. Goulding's directorial lights and shadows are
backed beautifully by his probing intellectual writing. And
the cast is an audience's dream of perfect character illusion.

Herbert Marshall, as the husband who is unable to cope
with his jealousy, gives a flawless performance. Naturally
repressed, unable to relieve himself in any kind of usual emo-
tional jag, Marshall offers an unforgettable portrait of a
man whose inner self is gradually weakened by frightful
mental torture.

Norma Shearer is vivid and compellingly convincing as
the wife who never dreams of being unfaithful until her
husband's insistent suspicions practically force her to be.
Miss Shearer has an exceedingly difficult role, and she carries
it gallantly and expertly.

Robert Montgomery is engaging as the charming playboy,
Mrs. Patrick Campbell brings an amusing character to the
screen. "Riptide" is a distinct, interesting achievement.

THE CRIME DOCTOR— RKO-Radio

A PRETTY perfect picture, all about the perfect crime,
with Otto Kruger, Karen Morley and Nils Asther
turning in pluperfect performances.

Otto a super-detective can't give up his wife, Karen, when
he discovers she loves Nils, so he plots and executes a murder
with all the clues leading right to his rival. But even Nils'
death sentence doesn't win Karen back for him. So enter
the surprise ending — and whew, is it a relief!

Guaranteed to keep you riveted to the screen every min-
ute whether you are a crime enthusiast or not.

Otto Kruger will mean something more in your movie life
after this. Karen Morley has profited by her screen vaca-
tion. The same for Judith Wood in a siren role.

Don't, by any means, skip this one.

Bidf^fcLiA.. 9

w- ^^L .'^^g, '

' 9ti

*"■*' A

* '** Ij

Hjk j| H&

^^'^

> *>

-IP 1

GEORGE WHITE'S SCANDALS— Fox

LAYISHNESS of production hits a new high, with girls,
costumes, sets, dance numbers presented on a lofty scale.

The back-stage love tale, interpolated between acts of the
Scandals at the Apollo Theatre in New York, concerns
Rudy Yallee and the charming Alice Faye, stars of the show,
and Adrienne Ames who employs plenty of wiles to separate
them.

There are three songs everybody will be humming. One
of the funniest moments of the film is contributed by Cliff
Edwards singing "Six Women," a grand take-off on Charles
Laughton in "Henry the Eighth." Edwards and Jimmy
Durante clown delightfully. And George White has enough
to do just being himself. Skilful direction.

Musical and dance numbers are highly spectacular.

The National Guide to Motion Pictures

(REG. U.S. TAT. OFF.)

MYSTERY
OF MR. X-
M-G-M

DAVID

h arum-
Fox

ONE of the best thrillers yet. Served up in such a gripping
manner that the unsoundness of story is overlooked.
Robert Montgomery, a slick thief, is under suspicion of Lewis
Stone of Scotland Yard, for it is believed the robber of the
Drayton diamond and the killer of several policemen are one
and the same. But Bob does a trick that surprises everybody.
Elizabeth Allan, Ralph Forbes.

COMEDY-DRAMA close to the Will Rogers pattern, with
all the genuine charm of his previous endeavors. The
character of David Harutn, a small-town banker who indulges
in horse-trading on the side, tits Will like a glove. He discovers
that his balky horse will break records to " Ta-ra-ra-ra-boom-
de-ay," which saves the day in the big race. Evelyn Yenable
and Kent Taylor supply romance.

THE

SHOW-OFF-

M-G-M

ALWAYS A

GENT—

Warners

THERE'S one in every family— a show-off. And what a
blustering, bluffing and even lovable show-off Spencer
Tracy is, with wife Madge Evans patiently suffering and
mother-in-law Clara Blandick popping forth with caustic re-
marks that panic everyone. Henry Wadsworth, Lois Wilson
and Grant Mitchell contribute to the entertainment. Tracy,
with tine shadings and understanding, does a line job.

IF you can understand Jimmy Cagney's triple-tongued lingo,
you'll probably like this humorous, hard-boiled story of the
"lost heir racket." But he goes a mile a minute, while trying
to change from a legal legacy sharp-shooter, minus ethics, to
what Bette Davis considers a gentleman. And when Jimmy
and his mugs go ritzy! Allen Jenkins and Mice White add to
the laughs.

GREATER

GLORY—

Columbia

SHE MADE
HER BED—

Paramount

WITH all the military procedure and daring of a regular
army, the "Paul Street Boys" carry on war against a
rival group, in defense of their playground. The youthful cast
turns in a superlative dramatic acting job. George Breakston's
performance, as the only "private" in his army, is a gem. An
idealistic departure from the usual routine picture. Skilfully
directed by Frank Borzage. Lois Wilson, Ralph Morgan.

AWARE of her bullying, vain husband's (Robert Arm-
strong) many infidelities, Sally Eilers finally decides to go
away with handsome Richard Arlen but, alas, a blessed event is
in the offing. This exciting drama packs a mean wallop at the
end — with a tiger running loose, a big fire, and Sally's baby
(Richard Arlen, Jr.) in the ice-box. A gay merry -go- 'round that
makes for good entertainment.

Saves Yo ur Picture Time and Money

COME ON

MARINES—

Paramount

REGISTERED

NURSE—

Warners

A CHEER-ROUSING screamie about the Marines who
once more get there just on time to save several beauties
stranded in the jungle. Richard Arlen, who is constantly losing
his stripes because of girl trouble, and Private Roscoe Karns
are center of some comical situations. Grace Bradley does a
scorching dance number. Ida Lupino, Virginia Hammond,
Monte Blue. Join these Marines and howl.

IF hospital pictures don't make you weak, here's an inter-
esting mixture of romance, tragedy, humor. Nurse Bebe
Daniels has every doctor in the house in love with her, but an
insane husband keeps her from marriage. However, at racket-
eer Sidney Toler's suggestion, Gordon Westcott ends it all.
Then, mysteriously enough, Bebe marries John Halliday in-
stead of sweetheart Lvle Talbot. Fine cast.

COUNTESS
OF MONTE
CRISTO—
Universal

SING AND
LIKE IT—
RKO-Radio

TIRED of it all, Fay Wray, extra in Viennese studio, drives
right out of a scene and over the border in a luxurious car
and fur coat. Registering at a Swiss hotel as " Countess of
Monte Cristo," she attracts international crook Paul Lukas,
and gets all the credit, plus a contract and lots of publicity, for
his capture. Patsy Kelly and Reginald Owen do nice work.
A novel, intriguing tale.

NOT a dull minute in this devastating mirthquake in which
soft-hearted kidnap king Nat Pendleton devotes his gang-
ster power to making stage-ambitious ZaSu Pitts a Broadway
star. This, much to the distraction of Producer Edward
Everett Horton and disgust of jealous ex-chorine Pert Kelton.
But all ends well. Loaded down with all the aisle-rolling humor
of this quartet, and Ned Sparks.

BEGGARS IN

ERMINE—

Monogram

JOURNAL
OF A
CRIME—
Warners

THE fine, sincere work of every cast member puts this up
with the best of the screen dramas. "Accidentally" crippled
and tricked out of control of his steel mill, Lionel Atwill, with
the blind H. B. Walthall, forms a powerful association of beg-
gars. Years later, his reappearance at the mill comes as a com-
plete surprise to the villainous Jameson Thomas. Betty Fur-
ness, James Bush. Good direction.

DRAMA that will appeal mostly to feminine audiences. In a
desperate effort to retain the love of Adolphe Menjou,
Ruth Chatterton kills rival Claire Dodd. Sharing her secret,
Menjou watches the matter play on his wife's conscience until
— an unusual turn of events produces an odd ending. Excellent
performances by every member of the cast.

[ ADDITIONAL REVIEWS ON PAGE 110 ]

<?<r

Fd Never Let My Daughter

Be A Star

Sylvia Sidney

tells
Virginia Maxwell

Sylvia dreams of
all she missed as
a girl, battling dis-
illusion to be a
star. If she had
a daughter, Miss
Sidney would not
permit her to pay
such a high price
for fame

"'M glad I
am a star," said
.Sylvia Sidney, "but
I would never allow a
daughter of my own to be one."

An amazing confession from a girl
who has struggled for her stardom; from
an early childhood fraught with poverty, to the
enviable spot she has acquired for herself in the picture world.
"The price one pays for that glory is too, too much," Sylvia
explained. " I've sacrificed since I was a little girl, that this day
might arrive. And now that I look back and realize all the
things I've missed, I know that if I had a daughter I should not
want her to miss them."

The greatest price one pays
for stardom, she says, is the dis-
appointment and disillusion one
meets all along the way.
" You soon learn not to trust everyone who
calls herself or himself a friend. You learn to
discriminate between people; you learn to
see things clearly, with no illusions.
"And if you are a dreamer, with romanticism and a little
sentimentalism in your nature, it's a drab outlook to realize
you've always got to be on the alert for falseness and insin-
cerity.

"There were times when I would watch people who had
gotten somewhere with envious [ please turn to page 98 ]

Five Dashes of
Hollywood Chic

ST2 j&&

•%■

4&*

s'9nf \2?.to*stidJ'r'<

Jea'

0^^^^^^

Parte*

d UCt,m tW

saW

tu^a^'ytroN

sno^

,\c\'\ne

3Ws *

\a^

waY

sVurre

a W

\\e an

pu
som

«ea.

a \ace
oran9«

vvrea

t\A w

\as ^

are

b\os-
ven

e// >e

^Sg2fe.^

ef.

*'V "

■e/>.

rr*

ri^m "i

| $8

A CAMERA can always
be certain of catching
something smart on Gloria
Swanson. And here she is,
above, wearing a stunning
accessory ensemble of long
gauntlet gloves and a tricky
matching handbag with un-
usual clasp and shirred top

IT'S refreshing to find
someone who dares to
be different about
flowers. Verree Teas-
dale waves aside the
banal corsage for a small
blossom pinned to her
tuxedo jacket lapel

WEAR flowers under
your chin, as does Lynn
Browning. She attaches them
to a satin ribbon necklet and
they look entrancing beneath
her wide-brimmed straw. It's
a smart hint for bridesmaids

ramatic

ines

RUFFLES, tiers of them, animate the
skirt of this charming printed cotton
evening gown which Isabel Jewell
wears in " Lets Be Ritzy.'' Vera
designed the skirt to flare back into a
short train. The brief jacket is taffeta
with a new sleeve fullness at the elbow
rather than at the shoulder as before

HERE'S what a young star wears
when she becomes mixed up in a
" Murder in Trinidad." Royer de-
signed this ensemble for Heather Angel
in two shades of blue wool, the darker
tone for the simple dress and coat
trimming and the lighter color for the
coat. Clever cut to the tuxedo revers

LACE has come into the
limelight again as trim-
ming and Royer has made
the most of it in designing
this alluring white gown
for Heather Angel to wear
in " Murder in Trinidad.''
Black lace circles the neck-
line and outlines the skirt
godets, forming a cascade
with the skirt at the back

And Bold Fabric Colorings

DOLD black and white
L^Rower print is Travis
Banton's idea of what a
comedy Russian princess
should wear. The print
makes the dress, the gloves
and even the jacket lining
of Adrienne Ames' cos-
tume for "You're Telling
Me.'" We've copied
every detail even to the
stunning off-the-face hat

RED, white and blue
plaid pique is the gay
accent for this blue dress
worn by Heather Angel
in " Murder in Trini-
dad." It's another Royer
model and he has used
bows of the blue to
accent the capelet collar
as well as the short, cuff-
ed sleeves. It s an excel-
lent spring business dress

YNNE GIBSON is
one of the many well-
dressed stars who picks a
knitted costume for both
sports and daytime wear.
The dress is one-piece in a
lacy weave with a finger-
tip length swagger jacket

ROYER has made such a smart costume for
Claire Trevor to wear in "Wild Gold,"
that we have copied both ensemble and hat
for you. The swagger coat in black and white
blanket wool plaid has a collarless neckline
with white lacing. The white jumper dress
beneath has suspenders of the plaid woo
and a black crepe shirt. The hat is a medium
brimmed panama with cire satin banding

Sports Clothes
As Hollywood
Wears Them On
And Off Screen

HOLLYWOOD
FASHIONS

here sponsored byPHOTO-
PLAY Magazine and worn
by famous stars in latest
motion pictures, now may
be secured for your own
wardrobe from leading de-
partment and ready-to-
wear stores in many locali-
ties. . . . Faithful copies of
these smartly styled and
moderately-priced gar-
ments, of which those
shown in this issue of
PHOTOPLAY are typical,
are on display this month in
the stores of representa-
tive merchants

;

A PERFECT costume for spectator sportswear
is this one, at left, worn by Irene Hervey
in Three on a Honeymoon.'' You can see
Royer's clever hand in the white tunic coat with
its unusual short sleeves and cutaway line. The
brown silk dress beneath has a high collar of
the white linen and fastens with a linen cord
tie. Irene's smart hat is of stitched linen, too

IT'S a casual little dress but a very useful one
which Claire Trevor wears in "Wild Gold."
It follows the classic shirtwaist frock type as
designed by Royer, but it adds unique details
in the yoke, frayed silk scarf and large mushroom-
like wooden buttons. The silk is corded white
on green and the braided belt with button
buckle matches the brown silk scarf in color

V3*

A FLOWER printed
/Njacket tops the pastel
silk frock which Helen
Twelvetrees wears in "All
Men Are Enemies/' with
Hugh Williams. An un-
usual sleeve note is the
row of fabric covered
buttons reaching from
shoulder to cuff. The
dress has a round collar
and jabot of sheer silk

T'S a sailor's life for many a fashionable hat
this season! Patricia Ellis wears a trim one
with the plaid suit she chooses for a scene
in " Let's Be Ritzy." The crown is shallow,
the brim small with the only decoration being
the two ribbon bands and the metal buckles

FELTS are popular again, especially in such
dashing styles as this brown one worn by
Mona Barrie. The brim is quite wide with a
dip forward over one eye. The crown is
higher on one side than the other with a
deep crease held by a bright yellow quill

Ann Dvorak Plays
With the Gulls

«* -i.

WHEN Ann Dvorak finished
"A Woman In Her Thirties,"
she quit Hollywood, deserting
the Klieg lights and the incessant
activity of the movie set for a
lonely stretch of sun-kissed beach

Bert Longworth

ANN is having a
good time — rac-
ing in with the
breakers, playing on
the sand. And after
the noise of town,
the seashore's silence
— broken only by the
cry of the gulls, and
pounding of break'
ers — is music to her

THROUGH the long, sunny
' hours, Ann tamed some of the
gulls. Many of the birds became
so unafraid of Ann, they would
fly down and beg her for bread

CILHOUETTED against the after-
^noon sun, Ann and the wheel-
ing gulls make a charming picture.
Any sailor'd agree that here
is an ideal spot for a shipwreck

F you can do it, it's fun to get

your exercise like this. The

young Warners star took her

daily dozen on the sand. But this

is difficult — on any seashore

William A. Fralcer

EDMUND LOWE did not know when he sat thus playing at the
piano the great sorrow that was in store for him. It was the prelude
to the great tragedy. That is beloved Lilyan Tashman's picture, right by
the piano. Lilyan was very fond of music, too. This portrait was made
before the recent, sudden death of Miss Tashman in New York City

This Dane Isn't
Melancholy

THE newest European picture importation is red-haired
Carl Brisson, with an irrestible Danish accent.
He has been a boxer, and when he was fifteen he held
the amateur welterweight championship of Denmark. Later,
he was the middleweight champion of all Europe. From there,
he went into the music halls as a dancer, with his sister.

He has never stepped on a stage that the show didn't run
at least a year.

Carl radiates. He beams. He laughs from the floor up —
it's quite a way up.

He takes a boyish delight in his immense, imported white
car — likes it so well that he has luncheon in the back seat
every day. He unfolds the trick cocktail bar, and spreads out
his lunch. Danish fish, pastry and coffee. American cooking
is too rich! So he brought his own cook from Copenhagen.

He arrived in Hollywood just as Hollywood loves 'em to
arrive — with the staggering car, the cook, valet, chauffeur,
dozens of trunks and a baggage car full of sheep-dogs. The
sheep-dog is his mascot — engraved on his stationery, his
cigarettes, his car.

He loves being an actor, excitement, music, merriment.
Recalls early days when he was a milk-peddler with a goat-cart
in Copenhagen.

Later, he became the ham-and-egg boxer who fought all
comers. One time in South Germany, he won a fight, spent
all his money celebrating, and found himself stranded with one
mark. Spent it for a tuning key, and went from house to house
tuning pianos. His first American picture is " Murder At the
Vanities."

New Chance Won
By A Nose

SHE lost her first screen race — and won her second by a
nose. The nose was Judith Wood's own very shapely,
straight one, but after an automobile crash in Hollywood,
it resembled "something like a sweet potato," in Judith's
words.

She was under contract to Paramount. The injured feature
was stubborn about resuming its former proportions, and the
camera didn't lie too well — despite make-up attempts. The
studio told Judith they were sorry, but — So Judith took a
long drive to forget all about the nose — and ran into a horse!

She thought she had better get away from a place where
there were such possibilities for accidents, so she took a train
back to New York.

Life was still a lot of fun to Judith Wood. Dropping from
featured parts on the screen to posing for magazine illustra-
tions didn't throw her. She got the part of the scheming
blonde in the Broadway stage production of " Dinner At
Eight" (the part Jean Harlow had on the screen), played it
for a year, and Darryl Zanuck of 20th Century Pictures made
her a new offer to come to Hollywood. But if her nose wasn't
all right, the contract was off. Judith walked into Zanuck's
office. "Hello," she said, "Here we are — me and the nose."

"Oh, is that the nose?" said the producer. "Well, what's
wrong with it? Sign here."

She has made "The Crime Doctor" and "Looking for
Trouble," and seems headed for better parts — if she'll wear a
nose-guard.

She lives in the Hollywood hills with a tribe of very frisky
cats.

Hurrell

JOAN puts aside her dancing shoes and turns again to serious movie*
drama. And Crawford should be great as the tragic and misunder'
stood girl, Sadie, in M-G'M's "Sadie McKee." Incidentally, that's a
clever dinner gown Joan is wearing. Its slipover blouse is of sequins
with a triangle scarf, or "cowboy collar," of the same material, tied on

What label do you

suggest for Crosby?

He certainly isn't a

"crooner"

No More Crooners/

COME ON! Let's tune up and make some money. Here's
your chance to add a few dollars to your bank account,
dress fund, or to put aside for a holiday trip. All you
have to do is coin a new word or phrase to take the place of
"crooner." A lot of people don't seem to think much of that
term any more. It has been so badly misused.

To croon, as denned in the dictionary, is "to utter a hollow,
continued moan; sing in a soft, plaintive tone." Ho hum.

But a crooner, according to hu-
morous conception, is a psuedo-singer
who wails super-saccharine love-songs
in a sentimental manner that is cal-
culated to entertain, but succeeds
only in being ridiculous.

The original crooners have been
copied by hundreds of unsuccessful
imitators. These imitators flooded
the nation's radio stations with such
force that they got well entangled in

Enter this money prize
contest and find a new
word or words that will
describe Bing Crosby's
individual vocal style

the public's hair. And the result was that the term "crooner"
became derisive.

Bing Crosby is not a crooner. For, today, the term implies a
singer who sings only sentimental lyrics, warbling over the
words so one can scarcely understand them, and sliding over
the tune with love-sick wailings so that it can hardly be rec-
ognized.

Bing Crosby is a gilt-edged entertainer. With equal facility,
Crosby can sing a tender lullaby, a
popular air, a sizzling torch number,
a folk song, or a bit of light opera.
His singing has all the qualities
one appreciates in a fine, well-trained
voice — purity of tone, volume, clar-
ity, good enunciation. He's an art-
ist. You can't call him a crooner any
more than you could have called
Jack Dempsey a pug.

[ PLEASE TURN TO PAGE 109 ]

WHAT

Was the Best

PICTURE of

1933?

Fifty Outstanding Pictures Released in 1933

A dorable

Hold Your Man

Prizefighter and the Lady,

Another Language

I'm No Angel

The

Berkeley Square

King Kong

Reunion in Vienna

Blonde Bombshell, The

Lady for a Day

Roman Scandals

Bowery, The

Little Women

She Done Him Wrong

Cavalcade

Mama Loves Papa

Sign of the Cross

College Humor

Masquerader, The

State Fair

Counsellor-at-Law

Morning Glory, The

Sweepings

Dancing Lady

Night Flight

This Day and Age

Dinner at Eight

One Man's Journey

Today We Live

Double Harness

Only Yesterday

Too Much Harmony

Farewell to A rms, A

Paddy, the Next Best Thing

Topaze

Footlight Parade

Peg o' My Heart

Tugboat A nnie

42nd Street

Picture Snatcher

Turn Back the Clock

Gabriel Over the Wh

ite Pilgrimage

Voltaire

House

Power and the Glory, The

When Ladies Meet

Gold Diggers of 1933

Private Life of Henry VIII,

White Sister, The

The

Zoo in Budapest

IF you haven't already voted, be sure to
send in the ballot on this page, without
further delay.

By thus voicing your opinion, you
virtually place an order for more fine pro-
ductions such as the one you feel should be
honored with the Photoplay Gold Medal.
This highest award in all screendom is made
each year to the film adjudged best by the
greatest number of Photoplay readers.

For your convenience, we have listed
fifty outstanding pictures of 1933. Of
course, you are not limited to these. Any
film that was released up to December 31st
is eligible. And you may be quite certain
that all pictures reviewed in our January or
February 1934 issues are qualified.

The first five months of the year are allotted so that folks everywhere will have had an
opportunity to see these 1933 releases before the polls close June 1st.

There are no rules, no limitations whatsoever. Simply consider the photoplay of your
choice from every possible angle. Think carefully about quality of direction, photography,
plot and acting ability of the players, before casting your vote.

The medal, donated by Photoplay, is of solid gold, weighing 123^2 pennyweights, and

is two and one-half inches in diameter. It is designed by Tiffany and Company, New York.

Films to receive this high award in the past were well chosen. And we know that the

production you add to the
Photoplay Honor Roll this year
will be worthy of stepping into
the ranks of these memorable
motion picture dramas.

The fourteenth annual award
of this Nobel prize of the cinema!
To a world that is movie-minded,
the selection of film material is
an exceedingly important mat-
ter.

The picture awarded the Gold
Medal sets a higher standard —
provides a new goal for pro-
ducers to shoot at.

Hurry, now, sign the coupon.
Let's do a good turn for the
industry that affords us all so
many pleasant hours.

Photoplay Medal of Honor Ballot

Editor Photoplay Magazine

221 W. 57th Street, New York City

In my opinion the picture named below is the
best motion picture production released in 1933.

NAME OF PICTURE

T^ame.

Address-

Previous Winners
from 1920 to Now

1920

"HUMORESQUE"
"TOL'ABLE DAVID"

1922

"ROBIN HOOD"
"THE COVERED WAGON"

1924

"ABRAHAM LINCOLN"

1925

"THE BIG PARADE"

1926

"BEAU GESTE"

1927

"7th HEAVEN"

1928

"FOUR SONS"

1929

"DISRAELI"

1930

"ALL QUIET ON THE
WESTERN FRONT"

1931

"CIMARRON"

1932

"SMILIN* THROUGH"

PHOTOPLAY'S

<JU)iiijwooo Jjeauli) Shop

Conducted By Carolyn Van Wyck

All the beauty tricks of all the
stars brought to you each month

What Color Hair

"You're Telling Me" presents Adrienne Ames in a
queenly coronet and we're telling you that it's stun-
ning for evening. A middle part, waves over the
ears, rolled ends at the back, a twisted coil over the
crown of the head are the successive steps

HAIR tone styles, like eyebrows and make-up,
change from time to time. You might think
that a part of the human body as static as
hair coloring would not come into the fashion
cycle. But that is not thecase. And, strangely enough,
the tones that come in and go out of vogue are artificial
ones, as a rule. You never saw a dark brown or a
chestnut trend. But we all remember the platinum
vogue started by Jean Harlow, and which by no
means confined itself to screen and stage. Big cities
and little towns were represented by platinums. And
if you can go back before the platinum, you will recall
the henna wave. Blonde, brunette or in-between,

they all fell hard for henna, with the result
that many a pure brunette or brown appeared
closely related to the red-head.

Two years ago in Hollywood I saw enough
golden blonde heads to make me dizzy. Every
one seemed either a definite brunette or a golden
blonde. At that time I felt that one nice,
mousey brown might start a hair fashion all
her own. But there weren't any mousey browns,
so far as I could see.

Today, in Hollywood the golden blonde
gives way to the so-called ash blonde. But

When Ida Lupino arrived from England last summer, she was blonde

like the picture at the right. For screen reasons, her hair has now

been made brown, as shown at the left. A typical example of the magic

of change that is Hollywood, How do you prefer Ida?

A lovely, pensive study of Loretta Young in

"The House of Rothschild" gives another

version of the coronet coiffure. Bangs

shorten the contour of Loretta's face

those words "ash blonde" need explanation,
since the true ash blonde is about as rare as an
albino. What Hollywood calls the ash blonde
is really a more natural tone of blonde without
the exaggerated golden glint. It is a tone that
recalls many of our own heads when we were
little girls and then were usually referred to as
tow-heads. Thisshade photographs remarkably
well, is pleasing to the eye and natural looking
when not overdone.

So much for Hollywood, which has set this
style.

What about the rest of us, girls born blonde
but whose hair has darkened, and girls with

iVor.HOLLYWOOD?

just a suspicion of light in their hair who'd feel
much happier if they were definitely blonde?
My mail is deluged with letters on this subject.
There are just two courses open in this situa-
tion. Reconcile yourself to your hair as it is.
It will be less expensive and less trouble. Or
go to the best hairdresser in your city or
town, and ask frank advice. You will be told
whether your hair is the type or in condition
to bleach satisfactorily. The hairdresser may
even be able to tell you how to do this for your
hair at home. If so, follow directions to the word.

Perfect simplicity is the keynote of this

charming arrangement worn by Ann

Sothern. The recipe is a middle part, softly

curled ends and a dainty jeweled tiara

I think it is too bad for the natural blonde
not to try to stay that way. With every year
of life this type of hair has a tendency to
darken. If you started out in life with blonde
hair, then it is safe to assume that it would
always be becoming. In spite of personal pre-
ference, we must agree that nature is a perfect
alchemist when it comes to personal coloring
harmony. If we keep more or less in our
original plan, we are safe. Error comes only
when we try to make blonde hair go with a
true brunette skin or when we give this type of
skin bright red hair. The same is true of the
natural blonde who might want black hair.

An orchid to Heather Angel, who likes this perfect
hair arrangement, and an orchid to Dennis Phillips
who created it. As a matter of fact, it is called "The
Orchid Coiffure." "Becoming to Heather Angel
and girls of her type," is Phillips' comment

These things just don't go and any effort on our part
will appear ridiculous.

As a general rule, your skin alone tells you whether
or not you could be blonde with good effect. If your
skin is fine and fair, the chances are in your favor, as
they are also if you have a light golden skin. With
almost every other type of skin blonde hair would be
a mistake. So please think this over carefully, and
don't take any foolish steps which you will later regret.

A word about Hollywood blondes is in order here.
Has it ever occurred to you that many of your favor-
ites sometimes change from brunette to blonde for
purely business reasons? Light hair often photographs

A New York hairdresser designed this ideal coiffure for Marian Nixon.

There is chic and much originality in that lift of curls at the left. A

deep part and waveless top give full play to the soft curls that nestle at

Marian's neck. A good style for many

Three

Significant

Hair

Fashions

Carole Lombard's coiffure in "Bolero" is reminiscent of the glamour of Lily
Langtry. Shall we see a revival of the pompadour?

better than dark. A certain type of
role may require blonde hair. And so
your star goes blonde. I have had
many say to me that they did not like
themselves light, and it was only for
camera reasons that they had become
so. So, you see, a star is not always
blonde because she thinks it is lovely
or smart, but because of business
necessity.

I am most heartily in favor of
rinses that brighten the hair. There
are many of them — and good ones,
that put just a glint of henna or gold
in your hair without ever changing its
original color. They simply give you
lovelier hair. Then there is the good
old standby of lemon juice rinse,
which is good for every color hair. I
am told by an authority that this is
the best way to use it. Squeeze the
juice of half a lemon into a tumbler
and add enough warm water to make
the glass one-third full. After you
have shampooed and rinsed your hair
well, apply the lemon juice and water,
rubbing it well through your wet hair,
then rinse very thoroughly. This
cuts out the soap that often remains
with the most careful rinsings and
leaves your hair soft and shimmering
with color. Most of the stars use either
a finishing rinse of lemon juice or
vinegar.

Now let's turn the page over to
Hollywood again and see just what's

Katharine Hepburn's unique halo
is a strong invitation to many girls
to do likewise. But do think twice
and see "Spitfire" before you shear
your locks in this fashion

This shot of Fay Wray from
"Countess of Monte Cristo" con-
firms the future possibilities of the
pompadour. It looks like more
hair and hat worries!

going on there. Plenty, I should say
from the pictures in these pages.
You'll get a surprise, too, for even
the trend in Hollywood is not always
to make the brunette blonde. Some-
times the order is reversed, as the
pictures of Ida Lupino show. Ida
was the blondest blonde that you can
imagine when she arrived in this
country from England last summer.
Corn color was just the word for her
hair, and a light corn, at that. She
has the eyes and skin of the pure
blonde, too. But see what Holly-
wood has done to her. Ida now has
brown hair, and her brows have been
slightly broadened in harmony with
the darker background. You can
draw your own conclusions from the
two pictures in this department. Ida
is lovely either way.

Then there is the very unusual
case of Fifi Dorsay, which I have
mentioned at other times. Fifi is
naturally an auburnish-brown, but

[ PLEASE TURN TO PAGE 90 ]

Photoplay Magazine for May, 1934

Claudette Colbert
has a clothes secret for you

It's easy to keep that
out-of-the-bandbox look
with Lux/' she says

"My secret is Lux," says
charming Claudette Colbert.
"I always insist on it for
everything that's washable at
all — for lingerie, stockings,
sweaters, washable silk and
cotton frocks. It keeps my
loveliest things always fresh
— like new!"

STAR OF PARAMOUNT' S "CLEOPATRA'

YOU, too, can keep your things always fresh and
lovely looking with Lux, just the way Claudette
Colbert does. A whisk through those feathery Lux
bubbles and your most precious lingerie, your smart-
est washable frocks come out looking like new ! Stock-
ings, too, last ever so much longer if you Lux them
after every wearing.

But don't risk rubbing dainty things with cake soap
or using soaps containing harmful alkali — these things
fade colors, injure fabrics. Lux has no
harmful alkali. Anything safe in water
alone is safe in gentle Lux.

Specified in all the big
Hollywood studios

Hollywood says
Don't trust to luck
—trust to LUX

"Costumes represent a big investment that
must be safeguarded," says Frank Richard-
son, wardrobe director of the Paramount
Studio, shown with Helen Kopka, his
assistant . ' ' That's why Paramount specifies
that all washable costumes be cared for
with Lux. It protects colors and materials,
keeps them new longer, saves money."

Redd This Before Asking Questions

Casts and Addresses

Jean Muir, whose face is "a photographer's dream," takes her

career seriously. When not working, you will find her quietly

studying other players emoting before the camera

Joan Kuen, Racine, Wis. — Lots of other
people said, just as you did, that Frankie
Darro didn't get half the credit due him for
his grand work in "Wild Boys of the Road."
Frankie's real name is Frank Johnson. He
was born December 22, 1919. Frankie's busy
working in the new Warner Bros, picture,
"Happy Family."

A. D. Brockway, Detroit, Mich. — The
Western picture you described with Kent
Taylor, Lona Andre, Berton Churchill and
Rosco Ates was "The Mysterious Rider,"
made by Paramount early in 1933.

Jeanne Palmer, San Francisco, Calif. —
John Beal was born in Joplin, Mo., August 13,
1909. He is 5 feet, 10^ inches tall, weighs
150 pounds and has brown hair and brown
eyes. He is of German-Irish descent, and his
real name is James Alexander Bliedung.
John's favorite hobbies are drawing and sing-
ing and his pet sports are swimming and
tennis. At this writing John is appearing on
the New York stage in "She Loves Me Not."

Michael Kimak, Garfield, N. J. — No,
Joe Penner, radio star, did not appear in Jimmy
Cagney's picture "Lady Killer." Don't feel
too badly though, because the Penner lad has
been listening to some pretty nice offers to go
into pictures in a big way.

Ruth Tadlock, Enid, Okla. — Goodness,
Ruth, but Buddy Rogers would be thrilled
to know that he has such staunch admirers
rooting all the time for his return to the
screen. Just now Buddy and his orchestra
are appearing on a vaudeville circuit in the
East. You didn't tell me whether or not you
belong to one of his clubs. If not, and you
want information on joining one, just drop
me a line, enclosing a return envelope, and
I'll give you the data on it. I do not believe

Ask The A

nswer

A FEW months ago Jean Muir was hailed
as "a photographer's dream" because
her face photographs perfectly from any
angle. Now picture-goers have acclaimed her
a "grand little actress," and predict great
things for her.

Jean made her first appearance on the screen
as a corpse. Remember the scene in " Bureau
of Missing Persons" where Allen Jenkins went
to the morgue to identify the body of a beau-
tiful girl? Well, the girl was Jean.

She also had another "bit" in the same
picture — a feminine derelict who wept on
reading of her mother's death in the paper.
That was Jean's debut in talking pictures,
with not a word spoken. Paul Muni, who
happened to be on the set while they were
making the crying scene, suggested Jean for
the role of Selma in his picture "The World
Changes." This was followed by the lead in
Joe E. Brown's picture, "Son of a Sailor."
Then she was with Donald Woods in "As the
Earth Turns," and in "Bedside," with Warren
William.

Jean was born in New York City, February

13, 1911. She is 5 feet, 7 inches tall, weighs
122 and has blonde hair and gray-green eyes.
Her real name is Jean Fullarton, but she took
Muir, a family name, because it was simpler.
She was educated at the Dwight School in
New Jersey and in Paris. Was president of the
school dramatic club for two years.

Although her earliest ambition was to be a
lady surgeon, she turned to the theater and
decided to become an actress. She began her
stage career as an understudy in "Bird in
Hand." The leading lady became ill and Jean
got her chance to go on. Then followed stock
company engagements. After that she ap-
peared in "The Truth Game," "Peter
Ibbetson," "Life Begins" and "Saint Wench."
A Warner scout saw her and her film career
started.

Jean is very proud of her Scottish ancestry.
Likes Scotch plaids and owns a pair of Scotch
terriers. She enjoys outdoor sports, swim-
ming, horseback riding, hiking and mountain
climbing. Her greatest hobby is her library.
You'll see her next in "A Modern Hero" and
"Dr. Monica.''

Buddy is planning any matrimonial venture
just now.

Francis Porta, Lerida, Spain. — The eight
pictures marked with a star in the May 1932
issue of Photoplay were: "Scarf ace,"
"Grand Hotel," "But the Flesh Is Weak,''
"Are You Listening?" "The Miracle Man,'?
"Wet Parade," "Dancers in the Dark," and
"Destry Rides Again." Sorry, but I cannot
give you the words to songs through this
column.

R. M. L., Quebec, Can. — Rene, you have
quite a lot of your countrymen appearing in
pictures. There are Ruby Keeler and David
Manners from Halifax; Ned Sparks from St.
Thomas; Norma Shearer and Fifi Dorsay
from Montreal; Barbara Kent and Fay Wray
from Alberta; and Mary Pickford and Walter
Huston from Toronto.

A. S., Pittsburgh, Penn. — The picture you
described with Robert Young in the role of a
young artist was "New Morals For Old."

Photoplay Magazine for May, 1934

CZ&U

locm^.*

• • •

that the "best comes high
but it DOESN'T APPLY TO GLAZO . . . [Nowonly 25c]

t's no sin at all to cherish fine things
... if you get, in satisfaction, what you
pay for. But when, in your nail polish,
you long for something really better,
forget the high-priced brands and dedi-
cate your fingertips to greater beauty
with New Glazo ... at 25c.

For Glazo's new lacquers are richer,
starrier in lustre. Their mirror-smooth-
ness gives nails a lovelier sheen. And
now, by test, they wear 50% longer.

Glazo's color-perfect shades are six in
number . . . six that beauty and fashion
authorities say are "right".

The exclusive Color Chart Package
shows each one just as it will look on
your nails . . . makes it easy to choose
just the shades you want.

Glazo's new metal-shaft brush, with
soft uniform bristles, makes application
far easier. The brush can't come loose.

Glazo Polish Remover

gentle to nail and skin

Glazo Polish Remover ivon't run dry
when you need it most! For it comes in
an extra-size bottle . . . enough to last
as long as your polish. It removes even
deepest shades with greater ease. And
it's a true cosmetic, gentle to nail and
cuticle.

Do your fingertips a glamorous good
turn, and switch to Glazo . . . now!

Discover, with new GLAZO, that you have lovely hands

GLAZO LIQUID POLISH . Six authentic
nail polish shades. Natural, Shell, Flame,
Geranium, Crimson, Mandarin Red and
Colorless. Only 25c each. In Canada, 30c.

GLAZO TWIN KIT. Contains both Liquid
Polish and extra-size Polish Remover. In
Natural, Shell, Flatne, 40c. In Canada, 50c.

GLAZO POLISH REMOVER. A true cos-
metic, gentle to nail and skin. Removes even
deepest polish completely and easily. Comes
in extra-size bottle, 25c. In Canada, 30c.

GLAZO CUTICLE REMOVER. A new

liquid cuticle remover. Gentle and effective.
Comes in extra-size bottle, 25c. In Canada, 30c.

^w^LAZO

THE

THE GLAZO COMPANY, Inc. Dept. GQ-54
191 Hudson Streec, New York, N. Y.
(In Canada, address P. O. Box 2320, Montreal)
I enclose 10c for sample kit containing Glazo
Liquid Polish, Polish Remover, and Liquid Cuticle
Remover. (Check the shade of Polish preferred).
D Natural D Shell □ Flame □ Geranium

Cal York's Monthly Broadcast from Hollywood

[ CONTINUED FROM PAGE 49

If it keeps up, no one will be speaking to
anyone else, and Hollywood will be more
snooty than Back Bay, Boston.

T^DDIE ROBINSON, Mrs. Jack
J-'Warner, Lyle Talbot and Joe E.
Brown were all grouped at a recent
cocktail party for a picture. When
the photographers were ready to
shoot they called "Open" as they
always do. And of course Joe E.
thought it was his cue! So open
came the Mammoth Cave.

■"THERE has been a great deal of chatter
about Evelyn Venable's unkissable con-
tract. 'Tis rumored Evelyn is not permitted,
by her father, to kiss any young man on the
screen. So imagine the amazement of the
diners in the Fox Commissary to see Evelyn

Back together again ! Maurice says,

oui, he'll play with Jeanette. So

Miss MacDonald and Chevalier begin

work in "The Merry Widow"

A RLINE JUDGE will take orders from her
■* ^-husband — and like it . . . because "The
Great Magoo" is being directed by Wesley
Ruggles, and Arline is playing an important
part in it, opposite Jack Oakie.

'"PHE independent situation —
■*" A reviewer on the PHOTOPLAY
staff had occasion to phone a small
studio for a list of the players in
their recent production. "We'll
have to call you back," said the girl
who answered. "The production
manager is out to lunch, and he has
the cast in his pocket!"

p.\UL LUKAS and little three-year-old Davy
Dickinson were rehearsing a scene for Paul's
new picture, "Glamour." "Now don't for-
get to say 'Good night, daddy,'" Paul cau-
tioned the little chap. "If you say it I'll see
that you get some ice cream."

So they prepared to make the scene. The
director called "Camera." And in the right
spot little Davy said, "Good night, daddy.
Now can I have my ice cream?" which, of
course, ruined the scene. But just the same
Paul held up remake until Davy got his cool
fodder.

Tf THY is it that Greta Garbo, Katharine
^* Hepburn and Margaret Sullavan, the
screen's three most mysteriously intriguing
ladies, and certainly the most talked of, con-
tinually snub Hollywood and refuse to have
anything to do with its "artificiality"?

Does a turned-up nose provide a carte blanche
to fame in this strange town? Or is it just
because these ladies win respect by "being
themselves"?

as Lincoln and Washington have the American
letters.

Imagine buying a Garbo likeness for two
cents!

JEAN MUIR arrived in Hollywood with her
^mind all made up to be a great dramatic
actress. And Jean is going to let nothing
stop her, much less the publicity department —
or, we should say, especially the publicity de-
partment. Jean thinks her ideas are the best,
and the publicity boys and girls are wondering
what her next one will be. One took place
in the gallery, as she was posing for portraits.
"No," said Jean, firmly, "I will not smile.
Dramatic actresses never smile!"

A BIG crowd gathered around
•^^Carl Brisson's enormous lim-
ousine, parked out in front of the
studio. One little boy took a good
look at all the gadgets and remarked,
"Well, I don't see the Turkish bath."

A ND all you meanies who were predicting a
* divorce for Bette Davis, better take an-
other look. Bette and her husband, Harmon
O. Nelson, have retired into the seclusion of
Bette's home and the exclusive society of each
other, until even the studio can't pry Bette
loose long enough to pose for pictures.

Once ladies protected their honor
with hat-pins. And today Gertrude
Michael carries a sharp-pointed
dagger in her chapeau

rise to her feet, rush to the door to meet Kent
Taylor, and greet him with a big kiss.

Now who is spoofing whom, we wonder. But
then, Evelyn didn't kiss on the screen, did she?

QLARK

GABLE

T OVE Department . .
and John McCormick,

. Gertrude Michael
going places. John
is Colleen Moore's ex. Randy Scott and
Vivian Gaye decided not to emulate the ex-
ample of Cary Grant and Virginia Cherrill.
In fact, Randy has another girl. Ida Lupino
and Jack LaRue are still all tied up.

[ PLEASE TURN TO PAGE 84 ]

was overheard
rat the Agua Caliente races
when he remarked to a friend:
"There was a girl who made us all
look like pikers. Her name was
Lady Godiva. She put all she had
on a horse !"

TX THO says a prophet is without honor in
^^ his own country? Certainly Garbo
stands top notch among her countrymen, for
a stamp, bearing the likeness of Garbo, has
been submitted to the Swedish government for
approval. And in the future Garbo's face may
grace Swedish letters and postal cards even

Richard Dix and his favorite Scotty

posed thusly at Dix's canyon home —

a secluded hideaway unknown even

to the bosses of RKO-Radio

Photoplay Magazine for May, 1934

AMERICA IS GOING HOLLYWOOD!* A MILLION FANS CHEER

73orde*Ci

45 MINUTES IN HOLLYWOOD

Not for love nor money would a mil-
lion movie fans miss Borden's thrilling
"45 Minutes In Hollywood" every
Saturday night!

For here, at last, is the radio show
which gives you the true Hollywood
. . . the Hollywood of gay laughter,

bitter tears and failure — and success!
Borden's "45 Minutes In Holly-
wood" is on the air every Saturday
evening at 8 P.M., E.S.T., over the
Columbia Broadcasting System (7
P.M., C.S.T.; 6 P.M., M.S.T.) And
it's the new miracle show of the radio!

DON'T MISS IT!

Remember — every Saturday evening at 8 P.M., Eastern Standard Time,
7 P. M., Central Standard Time, 6 P. M., Mountain Standard Time.

Paul Lukas and Fay Wray in Universal's new picture
Countess of Monte Cristo."

asWe*estMe,odl.

"45 MINUTES IN HOLLYWOOD" Borden's, makers of Fine Dairy Products for

Presented by the makers of Borden's Fine Cheeses, Borden's over 75 years> de!iver milk and ice crea™R£
Evaporated Milk, Borden's Condensed Milk, Borden's Malted Milk many of the leading cities of America.

Photoplay Magazine for May, 1934

Here'* a way to loveliness

For EVERY Type

of Skin...

dry. . . oify. . ''in-between

Star of Paramount's "Good Dame,'

a B. P. Schulberg Production

Precious Elements in this Soap —
Scientists explain:

"Skin grows old-looking through the gradual loss;
of certain elements Nature puts in skin to keep it
youthful," say scientists. "Gentle Lux Toilet Soap,
so readily soluble, actually contains such pre-
cious elements — checks their loss from the skin."'

Photoplay Magazine for May, 1934

that WINS

SvLVI/lSlDNEV

EVERYWHERE— in daily life or on the
screen — adoration and applause are
hers! Hard to believe, isn't it, that this
glamorous star is just a girl like you ?

Yet Sylvia Sidney understands your
problems; knows that for you, too,
the kind of loveliness that wins is
all-important!

So she tells you her secret . . . how
irresistible lovely skin is. She tells you
how easy it is to have this charm!

Follow this famous star's complexion
care! Use her Lux Toilet Soap beauty
treatment every single day. Actually
9 out of 10 screen stars use this fra-
grant, white soap — and have for years
because it keeps skin really exquisite.

Their easy way will win for you, too,
the kind of loveliness that captures
hearts! Begin today to use Lux
Toilet Soap!

YOU can have

Cal York's Monthly Broadcast from Hollywood

[ CONTINUED FROM PAGE 80 ]

■p\IXIE CROSBY is very much annoyed
■^">that the news of her approaching blessed
event was distributed so early. Since the
baby isn't expected until August, it does seem
a trifle previous. After giving Bing a good
selling argument, Dixie has signed a contract
to do five pictures with Monogram. As they
make 'em pretty fast over there, it ought not
to interfere in the least with Dixie's schedule.

^pHERE is a scene in "Twentieth
A Century" in which Carole Lom-
bard has to give John Barrymore a
vicious slap. Director Howard Hawks
asked Barrymore, jokingly, if he
minded being slapped by a woman.
"What," exclaimed the great
Jack, "haven't I been married three
times?"

"PXTRA! Jean Harlow fingerprinted!

In Pasadena, too, of all respectable
places.

However, Jean isn't going up to the Big
House for anything right away. She had her
digits recorded as a matter of form to make her
acting police chief's appointment of that city
all regular and according to Hoyle.

COME people take mothers-in-law along on

honeymoons, others visit relatives and such
odd things.

But Merna Kennedy and her famous dance-
director groom, Busby Berkeley, spent a nice,
cozy day in a penitentiary.

They hadn't broken any law or anything.
Neither had ever been through a " Big House,"
and as San Quentin was on their nuptial
itinerary, they seized the opportunity.

Love can really conquer all.

TJTARRY WILCOXON, DeMille's super-
man Mark Antony, hadn't been in Holly-
wood two weeks before he had caught the
name changing bacillus. Now it's Henry.

Mr. Wilcoxon hasn't any dignity complex.
He just got tired of people misspelling his
monicker. Because of all the advance fan-
fare about what a big, virile, strapping fellow
the lover in " Cleopatra" was to be, everyone
got to spelling it "Hairy."

"pANCY yourself wearing George Raft's
wardrobe these warm California days.
George is toting around a suit that weighs
exactly thirty-five pounds and a hat that
weighs eight pounds, his costume for his role
of bull-fighter in "The Trumpet Blows." By
the time George is through his scenes for the
tlay, he's so exhausted he has to be helped out
of his pan — er — clothes.

"EVERYONE was pretty much mystified
when Miriam Jordan sued her husband for
a divorce. No one knew she had a husband,
what with all the talk of her engagement to a
wealthy Easterner and the huge engagement
ring she lost en route from New York on a
visit to him. We have just discovered the
real facts of the case, which puts things in a
different light. Miriam had secured a Mexi-
can divorce, long before the later engagement
took place. But she was concerned over the
legality of the Mexican decree, and so brought
suit in California.

1 I J\VO Sidneys — Fox and Blackmer — are
teamed in an approaching musical, "Down
to Their Last Yacht." Sidney Fox has been
in only one film, "Midnight," recently, and in-
volved in marital pyrotechnics. According to
the last report Sidney has gone back to her
husband, Charles Beahan.

Blackmer has made several pictures in which
his real personality somehow failed to get over.
But in " This Man Is Mine" he scored a knock-
out, and this most recent part is a reward for
his good work.

Joan's going to get stuck! Miss

Blondell went tripping through the

cacti while on her vacation in the

Mojave Desert recently

OOMETIME in the summer, Hollywood is
Agoing to count Jeanette MacDonald among
the missing. By that time, she'll be giving
the Latin-Americans an eyeful of the pulchri-
tude they prefer. Jeanette is a big favorite
in the South American continent, in fact, the
biggest favorite, as she is in Europe.

With some other singers, dancers and an
orchestra, she is making plans to embark on a
two months' tour after finishing work on "The
Duchess of Delmonico" and "The Merry
Widow.''

JACK BARRYMORE believes that
you get the best service when you
go to the "head man."

Having experienced a slight delay
the day before in getting his lunch —
he called up Harry Cohn, hard-boiled
president of Columbia, where he is
making "Twentieth Century."

"Tbis is Jack Barrymore, and I
want ham and eggs for lunch,"
bellowed the melodious Barrymore
voice.

"Fresh out of ham and eggs,"
yelled Cohn, undismayed. "We'll
send you kidneys!"

And Jack got service — pronto.

(We don't advise any extra-players
to try this system.)

"DILLIE DOVE is one of the happiest mar-
ried stars in Hollywood today. And that
pink and blue nursery of Billie's, that awaits
that new baby, is the crowning touch to
Billie's happiness. With Hollywood so full of
unhappy marriages, it's a relief to find one
that has worked out as beautifully as Billie's.

AT M-G-M they thought it was another
earthquake — or a boiler explosion.
But the tremendous rumbling which rocked
sets and made strong men tremble was only
Mary, the 3000 pound hippopotamus star
brought out for the latest Tarzan opus, in the
midst of sneezing off a cold.

A NOTHER triumph for dat old debbil Di-
■**-vorce— the Dorothy Mackaill-Neil Miller
marital split-up of last month.

The romance was blamed upon the romantic
whisperings of the waves of Waikiki, but the
divorce simmered down to Dorothy's state-
ment:

" He just didn't like motion picture people."
Where has Hollywood heard that statement
before?

"VOU may like your slot machines, but Bob
■*■ Montgomery prefers pay telephones. They
pay off better.

The other day Bob slipped a nickel into a
phone at M-G-M and got a busy signal. He
put his hand down for his returned nickel, and
got $12.50 in a shower of five-cent pieces.

Other telephone customers were then treated
to the sight of Bob down on his hands and
knees trying to collect the rolling coins which
deluged the floor.

Of course, he didn't keep the surprising
"jackpot."

Like a good boy, he returned it to the tele-
phone company.

Photoplay Magazine for May, 1934

.Lovely shoes . . .we're
on top of the world again

* Vs. v\T>*

Model illustrated is the "Kiski"

$6 and $6.50

Slightly higher west of Rockies

OTYL-EEZ SHOES are flatterers. Their artful styling makes feet
seem even daintier than they are. This is as it should be, of
course. Especially when discerning male eyes are about. • Yet
Styl-Eez shoes embody an even greater feat of modern design-
ing: • Those who choose them — for vanity's sake, let us say —
find to their joy and amazement that comfort has not been
sacrificed at the altar of appearance; that with the illusion of
daintiness is included walking and dancing comfort that is
actually exciting — because it comes so unexpectedly. • Newest
Styl-Eez fashions for spring are being displayed to admir-
ing eyes by progressive shops everywhere. And the modest
prices — as you have no doubt noted — are an added incentive.

The Selby Shoe Co., Portsmouth,
send me a copy of your Styl-Eez

Nam e , . .

Send this coupon for the Styl-Eez Booklet
of features and new models

Address-

Gentleman George

CONTINUED FROM PAGE 31 ]

But just the same, George Raft is a gentle-
man.

He is basically, intrinsically a gentleman,
through and through, with a code of honor and
ethics as high as that ever boasted by any blue-
blood.

With a pattern of conduct, an honesty and
chivalry so unique in Hollywood that it seems
doubly strange when you consider that Holly-
wood's "gentility" is just getting over re-
garding him as a gangland gunman, with a
bodyguard yclept "The Killer"!

Nietzsche said, "Agentleman is he who never
takes advantage of a situation."

That fits George Raft like an acrobat's
tights.

He never does — never has taken advantage
of the enviable situation in which life has
placed him.

He has never made it hard for the smaller
people who work with him. He has never for-
gotten his friends.

TX a town where many stars of George's
magnitude are notably unreliable — free with
their promises, but lax in their fulfillment
—George's scrupulous honor about the most
unimportant engagement is signally outstand-
ing.

Only once in all the time he has been in
Hollywood (a busy time, too) has he failed to
show up on the dot for his appointments. That
one time he was ill with "flu."

He apologized and worried about it for days
afterward.

And if punctuality is the virtue of kings, then
George is indeed kingh — for he has never been
known to be late.

Tt is a gentlemanly courtesy, not caginess.
Someone asked him once why he did it. George
was surprised.

"I don't know why," he repeated. "What
else would you do?"

The courtesy he evidences isn't limited to
youth, beauty, or people who can do him some
good.

Xot long ago George was hurrying across the
Paramount lot for an important engagement,
when two middle-aged ladies hailed him. He
stopped.

•' Do you know where 'Alice in Wonderland'
i- being shown?" they asked him. They ex-
plained that they belonged to the Parent-
Teachers' Association, which the studio had
invited to see the film.

He could have dismissed them with a head
shake.

Instead, he said: "No, I don't. But I'll find
out and take you over."

So he looked up the number of the projec-
tion room and escorted the two visitors, who
didn't even know he was George Raft, to the
door of the studio theater.

It was only a natural gesture of courtesy to
women, something which is markedly upper-
most in his make-up.

T AST year, during a personal appearance
tour in the East, for two weeks he played two
theaters simultaneously, one in Xew York and
one in Brooklyn, eight performances a day.
George worked it out so that he arrived in
Brooklyn in the afternoon with thirty minutes
to spare before he went on. The management
rigged up a room where he could snatch a half

hour's rest, guarded by Mack Gray, his per-
petual companion.

One day, the manager rapped gently on his
door and whispered to Mack to look out the
window. There, perched precariously on a fire-
escape and window-ledges, were rows and rows
of girls, waiting to get a glimpse of the star.

"I'll get someone to run them off," said the
manager. "I'm afraid they'll fall and get
hurt."

Mack started to shoo him away, but George
had overheard.

Here's one Bonnie that doesn't lie

over the ocean ! Singing as she goes,

Bonnie Browning is making movie

conquests in Hollywood

"Why didn't you tell me?" he asked. "I'll
take care of them." And he stepped outside,
greeted the girls and made them a little talk.
" Now you had better get down off the window-
ledges," he suggested.

"If you'll give us your picture," said the
girls.

"Sure I will," said George, "right after the
performance."

And rest time before the evening's New York

show was devoted in Brooklyn to signing pic-
tures for the window-perching admirers.

George's only actual fight in Hollywood was
precipitated when a Paramount producer failed
to respect George's sentiment for his mother.

There was a line in the "Bolero" script
where George was supposed to say, "I'll step
over my mother's grave, if it isn't true."

George objected.

The producer insisted he must say it as was.

"VTOTHING doing," replied George. "I've
Na mother, and I respect her. Even if I
didn't have a mother, I wouldn't say it. It's
sacrilegious."

"You'll say it and like it!" stormed the
executive.

Then there were two blows struck. George
struck the producer, and the producer struck
the floor.

He didn't say the line.

Every girl with whom George has gone while
in Hollywood agrees about his almost old-
fashioned chivalrous attentions, certainly in
contrast to the casual attentions of most Holly-
wood swains.

When George meets a girl and takes her out,
flowers inevitably arrive the next day. If he
goes with her any time at all, she is sure to
receive unexpected gifts of candy or perfume.

And when a girl goes out with George Raft,
she knows she'll never have to call a cab for a
drunken escort.

He never touches liquor.

He learned that in "Hell's Kitchen," and in
his night club dancing days.

"I'd look around and see fine men, promi-
nent men, making fools of themselves," he re-
calls, "and I decided that if booze did that to
you, it wasn't worth it. So I resolved never to
touch it."

And he has kept that resolution.

Honor, a word that is a bond, courtesy and
chivalry — these and a character of unswerving
loyalty are aniong any gentleman's prime
virtues.

George has the loyalty, too.

On his first trip back to the old neighbor-
hood, after he had achieved his sensational suc-
cess in Hollywood, his first act was not to make
a play for the "big shots," now eager to meet
him, but to look up his old gang pals at "the
club."

~k X ACK GRAY and Sammy Finn, pals of his
pugilistic days, are still his best friends in
Hollywood.

Recently, at the Paramount ball for the Earl
Carroll beauties, a studio photographer was
being directed by an eager press-agent to make
some pictures of George at his table. Next to
him was the omnipresent Mack.

"Move over," the publicity man instructed
Mack, "I just want George in the picture."

"Keep your seat," countermanded George.
"He's my guest," he explained quietly but
firmly.

"He doesn't have to move. If you want
the picture, shoot it like you see it."

That's "Gentleman George" Raft, who
hasn't the gentlemanly veneer — only the solid
substance which lies beneath — the stuff that
would make him a genuine gentleman whether
in Hollywood, "Hell's Kitchen," Hongkong or
Halifax!

Photoplay Magazine for May, 1934

FOOLS HERSELF BUT NO ONE ELSE . .

endu

res

a condition ABHORRENT to everyone

ENTRUST YOUR

TO NOTHING LESS SURE THAN ODO-RO'NO

T)EOPLE don't blurt out everything
-*■ they think about underarm perspira-
tion ... or some girls would have their
ears red with shame.

For you do offend, mostly without
dreaming it, when ... by neglect of Odo-
rono . . . you permit your perspiration to
go unchecked. For you rarely can detect
your own underarm odor, so unbearable
to others.

Even when you notice no dampness,
perspiration moisture in the confined arm-
pits quickly forms an acid that ruins

dresses and turns friends against you.
Even a bath a day can't save you.

If you care at all what other people
think, you'll insist on a deodorant that's
trustworthy and sure. You can trust Odo-
rono ... a physician's formula ... to pro-
tect you so completely that your mind is
free of all fear of offending.

ODORONO is Sure

And by checking, completely, all under-
arm moisture, it saves your dresses from
ruinous stains while protecting you from
social defeat. For quickest, most conve-

nient use, choose Instant Odorono. Use it
daily or every other day for complete,
continuous protection against underarm
perspiration and odor.

For longest protection or special need,
choose Odorono Regular and use it faith-
fully twice a week. Both Odoronos have
the original sanitary applicator. Both of
them come in 35c and 60c sizes.

ODORONO

• T' . Odorono original sanitary applicator is
easie - and more convenient to use. It holds just
enough liquid ata time, and it is washable, too.

Ruth Miller, The Odorono Co., Inc.
Dept. 5-Q4, 1(11 Hudson St., New York City
(In Canada, address P.O. Box 23'20, Montreal)

I enclose 10c for a special introductory hot tit ..f
Odorono with original sanitary applicator.
(Check the type you wish to try) . . .

□ Instant Odorono D Odorono Regular

Address

"Beware the Danger Line, Glenda F Warns Sylvia

CONTINUED FROM PAGE DC*

cocktails a day. Sure, you can have wine with
your dinner, but easy on the cocktails.

Every night, I want you to give your face a
massage. What's that? Do I see you making
a face at me? Okay, Glenda, I understand. I
know you and your type, darling. You're im-
patient. You're restless. You want to do
things fast, and it's hard for you to get over
it. So at the risk of making a lot of the
women who read my articles mad, I'm going
to be lenient with you and give you a short cut
to beaut)' — a five minute facial.

Oh, I know what you other girls are going
to say. You'll say that Sylvia's playing
favorites. You'll bring up all that I've been
preaching to you: that you can't have beauty
without time and patience — that no matter
how much time you take with yourself, it's
worth it. Well, that still goes. But Glenda is
different. She's the type who won't spend
hours and hours on herself, as I want you girls
to do. So this is for her and, if the rest of you
are real good girls and don't neglect your
exercises, you can do it, too.

Here's the five minute facial that I've been
saving for somebody like you, Glenda. Every
night clean your face with a good cold cream.
Don't just slap it on. Clean it well, and don't
forget the lines and corners of your face. Next,
dip a piece of cotton into some sour milk and
dab that on your face. I know it smells
funny, but that doesn't matter. I want your
skin to be perfectly beautiful and the sensation
of Hollywood!

Then for five minutes tap your face lightly
all over with your fingertips. Don't neglect
your neck either and, while you're about it,
slap under your chin, gently, with the back of
your hand. When the milk dries, dab on some
more and go on with the tapping. Tap all over
your face as if you were beating a tattoo. This

works as a muscle tightener and gives in-
creased activity to the glands. Tap very
gently on top of the cheek-bones, for I want
your eyes to photograph as large as possible,
and they won't if there are pouches on your
cheek-bones. Leave what remains of the sour
milk on all night. And there you are — the
labor-saving, five minute facial. Even a girl
as impatient as you can manage that, when
you know it means preserving that face, which
is your fortune.

Now just one more thing, and then I'm
through with you. You have a lump just
above your elbow, and your elbows aren't
any too good, either. The poor elbows seldom
get attention from anybody, and they can be
very beautiful. They're just nature's step-
children, I guess. But I want you, Glenda,
and every other girl, to pay them some
attention from now on. And you've got to be
very particular about taking off that lump.

Here's how, darling. Place you hand over
the lump. Press your fingers in from under-
neath. Then squeeze down with the flat of
your hand nearest the wrist as if you were
sloughing off the flesh. When you do this,
be sure that there is a generous amount of
cold cream on your elbows and on your hands,
too, so you will be killing two birds with one
stone — softening your elbows and taking off
that ugly lump as well.

You are graceful and snappy, Glenda, but
I want you to keep that way, so I'm giving
you just one exercise which includes every-
thing. You see, you don't need the flesh off
in spots, because you haven't any of those
spots.

Stand in front of an open window without
any clothes on (better do this early in the
morning or else you'll have a crowd) and, with
arms above your head, bend your body every

which-a-way. Dance around as Isadcre Dun-
can used to do. Make your movements lithe
and graceful. Swing your arms. Swing your
body. Move your spine freely. Atta girl!
Do it gracefully but vigorously, too, and you'll
find some muscles that you haven't used for
years. Stir up those lazy muscles! Wake
them up! Oh, that's great!

I don't need to give you a diet. Use your
common sense about eating, that's all. Just
remember never to steam vegetables for more
than thirty minutes. Don't put any salt in
them while they're cooking, and always drink
the juice off the vegetables. That's the elixir
of life!

But you have radiant health, and it always
makes me happy to s* e people with the good
sense to keep healthy. Because, Glenda, I
know that you've h; 1 troubles in your life.
Your face shows that, darling. I know what
heartbreak you went through when you were
forced to separate from your husband, but the
wonderful part about you is that you don't
moan and complain about your heartaches.

I'm crazy about you. The public is crazy
about you. And so is Hollywood. Hollywood
folks like good sportsmanship, and you've
got that. That's why all your bitter ex-
periences haven't made you a bitter woman.
For you've something that I wish I could give
to every woman and girl in the world — a cheer-
ful spirit. And you can only have a cheerful
spirit when you're healthy and lean.

Here's a little motto for you and for every-
one: Keep light in body and light in spirit.

And when you've got that motto firmly im-
planted in your mind — you just can't be
licked.

Keep it up, Glenda, and good luck to you.
Love,
Sylvia

Answers by Sylvia

Dear Sylvia:

You say you can't change the bone forma-
tion of a person's face. Well, then, no matter
what I do I have to admit that I'm ugly — yes,
just plain ugly. I have a crooked nose, long
face, prominent cheek-bones. I hate to be
around pretty girls. I don't know what to do.
C. V., Little Rock, Ark.

It's true, neither I nor anyone else can
change bone formation. But you can change
your disposition. Stop thinking you're ugly.
Develop your personality. Be distinctive.
Instead of trying to hide what you think are
your ugly features, accentuate them — make
them your trade mark! Hold your head up.
Get a good posture. Walk into a room as if
you owned it. Be interesting, entertaining
and amusing. I have a friend who is really
very ugly, but she is so charming and has so
much vitality, that every time I see her she
is better looking in my eyes, and now — honestly
— she's almost pretty.

If beauty is skin-deep, then ugliness is soul-
deep. When your eyes are bright, when you
are healthy, when you have a lovely, clear
skin and a beautiful figure and well-cared-for

hair, there is no such thing as ugliness. And
all of these are yours for a little time and
trouble! Make the most of everything you
have and don't cry over what you haven't.

Dear Madame Sylvia:

I have terribly bony knees and I hate to see
summer coming on, because I know I'll be
forced to wear a bathing-suit. Is there a
remedy for that?

G. J. H., Portland, Me.

Remedy for what, darling? Wearing a
bathing suit or bony knees? There's no
remedy for wearing a bathing-suit. If you

want to be popular, you'll have to join the
crowd, but there is a remedy for bony knees.
Start right now to fatten yourself up a'l
over by following my building-up diets and
exercises. Get your legs fatter than they need
be, so that the bones in your knees won't
show. If you're too fat then, take down the
fleshy parts by squeezing and pounding as I
have described in one of my previous articles.
If you start right now, by summer you'll look
grand, and won't need to bother about hang-
ing your clothes on a hickory limb.

Dear Sylvia:

I have now reduced to where I want to
be — thanks to you — but I don't want to lose
any more weight. Yet I'm afraid that if I
go back to eating what I ate before, I'll get
fleshy again. Tell me what to do.

Mrs. L. J. H., St. Petersburg, Fla.

I have an in-between diet which you should
go on. That diet is guaranteed not to put
on weight, but it won't reduce you, either.
If you'll write again, requesting this, and send
a self-addressed stamped envelope, I'll be glad
to let you have it.

An enlirelv new principle
A smart new package
A new low price

z*&

itration and text copr. 1934, Kotex Co.

IN SIZE AND SHAPE THE KOTEX PACKAGE IS IDENTICAL TO THAT OF BOXES WIDELY USED FOR PACKING ORDINARY ARTICLES

zSM^C&Si^f area usztt-0^ . . to€£c&?*tj& ~m^ n^a/-/

THE NEW 1934 WONDERSOFT KOTEX

brings a great change in the lives of women

HAVE you ever complained about the
sanitary pads you have known?
Have you ever suffered that ill-at-ease
feeling with old-time pads? Then this is
important news for you.

Carefully, painstakingly — for more than
2 years Kotex scientists have consulted
with a great Consumer Testing Board of
600 typical American women — a project
never before dreamed of. The result is
now presented to all of womankind — the
New 1934 Wondersoft Kotex — an achieve-
ment that ranks with the highest of all
scientific contributions to the health, hap-
piness and comfort of women.

WONDERSOFT— t hird exclusive
Kotex patent

Three times in two years — vital Kotex im-
provements have been honored with U. S.
Patent protection. First — came flattened,
tapered ends that made possible undetect-
able protection beneath the most clinging
gowns, U. S. Patent No. 1,857,854. Second
— the famous Equalizer strip, increasing
the security by lengthening the hours of
protection, U. S. Patent No. 1,863,333. And
now — Third and most revolutionary of all

Kotex improvements — the new 1934 Won-
dersoft Kotex — U. S. Patent No. 1,946,626.

What WONDERSOFT Kotex

means to women

The new 1934 Wondersoft Kotex is a scien-
tific marvel of softness. A fluffy layer of soft
cotton is applied to the edges — and only
the edges. This is important — for chafing
is prevented and the absorbent surface is
left free to do its important work instantly.
That — women told us — was the greatest
single need in sanitary protection. Won-
dersoft remains gentle, marvelously soft
for hours. Women by scores tell us that
Wondersoft Kotex has utterly changed
their lives. And — most important — this
new wonder-softness has been achieved
without sacrificing a single one of the
priceless Kotex features you have always

known. In width, thickness — in fact in all
dimensions — the new Wondersoft remains
the same. Once you have used the New
1934 Wondersoft Kotex — you will never
forget to re-order it.

A new package — new in color, shape

and design for your protection

To make sure you get Wondersoft — and
no other — we introduce it in a modern
new package — totally different from the
Kotex box you have known.

Familiarize yourself with it at once.
No other pad is or can be like it. Ask
for the New 1934 Wondersoft Kotex in
regular or super-size at your dealers to-
day. Both are priced alike — and, to intro-
duce Wondersoft Kotex, we present it at
the lowest standard price ever asked for
Kotex!

"I used the new Wondersoft
Kotex on a long 3-days-without-
stop automobile trip. I never had
such a feeling of absolute pro-
tection."

Home Girl

"Best of any pad I've ever tried.
The side padding makes them
softer than ever before."

Musician

"For the sake of my daughter I
feel deeply grateful for the new
Wondersoft Kotex. Nobody but a
mother can know how important
comfort and a feeling of security
are to young girls."

Housewife

[ CONTINUED FROM PAGE 76 ]

she makes her hair inky black. In fact, her
sister used to do it for her. This came about when
Fifi was assigned the roles of French girls in her
earlier pictures, and she thought the glistening
black mop seemed more in keeping than her
own hair. Fifi's French accent should carry the
conviction of her French origin, but she pre-
ferred to settle the business with that black
hair.

So while you may copy your favorite star in
almost every other way, in the matter of hair
coloring, other considerations enter with the
star.

In a way, you can't tell what Hollywood will
do with hair. Black today, blonde tomorrow
is the usual formula, although, as I've shown
you, this plan now and then reverses itself.

If you've seen " Gallant Lady" you may
have noticed another interesting hair change in
Ann Harding. Her ears are exposed, and what
a charming change! Here is a lesson that
many of us might follow to advantage, and the
kind of invaluable beauty tip that the screen
can give you, so far as hair is concerned.

For chic hair styles, always watch Bette
Davis. Bette does more interesting and original
things with that light hair of hers than any
player I know. Her latest is combing back
fluffed ends and placing a broad braid under
the back hair and over the crown of her head.
It's simply stunning and I hope to have pictures
of this for you next month.

If you want to be hair chic and do interesting
things with your own hair for evening, you will
pick up a matching braid. You can do wonders
with it.

Katharine Hepburn's treatment of her au-
burn tresses has created something of a furor
among the younger set. You'll see plenty of
hair a la Hepburn if you keep your eyes open.

Then there is that quaint pompadour effect
worn by Carole Lombard in "Bolero" which

Brunette
Today And

Blonde
Tomorrow

By Carolyn
Van Wyck

Arline Judge shows
you that the very
simple coiffure still
plays its part in
Hollywood. This
style is dateless and
an ideal frame for
her dark beauty.
Many girls will find
it the perfect hair
arrangement

Irene Bentley ad-
vocates the use of a
greaseless hair
dress in stick form
that keeps her dark
locks smooth, lus-
trous and in place.
Small enough for
your bag, it is a
grand adjunct to
that perfectly
groomed look

promises quite a following at this writing. It's
not an impractical coiffure, either, for you get
the effect by cutting the front hair shorter than
the rest, curling it tightly and bunching it on
the forehead. For day or whenever you wish a
plainer arrangement, you can brush this front
hair down smoothly from a middle or side part,
and there arrange it in plain waves or curls, if
you want.

Mae Clarke is another interesting hair case,
for Mae has suddenly gone glamorous on us
by a soft, curling coiffure with a clip or flowers
for decoration. It does wonders for her.

So far as hair styles are concerned, they are
more elastic today than perhaps ever before.
The whole trick is to get yourself an arrange-

ment that is flattering and different, if possible.
The general line must be kept fairly close to the
head for a smart and becoming line.

" A HEAVENLY HALO" is our newest leaflet
-**"telling of some helpful hair preparations,
shampoos, tonics and other things you need for
healthy, lovely hair. It's yours on request, as
well as our leaflets, "New Skin for Old" and
"Eyes Like the Stars." Please send separate
envelope for each leaflet to facilitate mailing.
Personal beauty problems are also answered.
Carolyn Van Wyck, Photoplay Magazine,
221 West 57th Street, New York City.

MYRNA LOY

Photoplay Magazine for May, 1934

Featured in M-G-M's "MEN

Max Factor's Make- Up Used Exclusively

91
IN WHITE"

POWDER ... For perfect color harmony with

my complexion colorings . . . fair skin, grey eyes, light-
brown hair.. . I choose Max Factor 's Rachelle Powder.
Just right in texture and weight, it creates a satin-smooth
make-up you can depend upon for hours. Here's a hint: pat
on plenty of poivder. then remove surplus with face powder
brush. You'll be surprised how smooth your make-up will be.

JROIfiiK.. . Rouge should bt like a glow of natural
color, and, of course, must harmoni-ze with your color-
ings and your poivder. Max Factor's Blondeen Rouge
is my correct shade. If 'hen you apply it, it feels as soft
and lovely as finest skin-texture ; and it clings beauti-
fully, too. Try blending your rouge with your finger
tips, for a smoother, more delicate effect.

.LIPSTICK ... Wt give lip make-up a setrere
test in Hollywood. It must last for hours; it must be
permanent and uniform in color; it must keep lips always
smooth and lovely. So, Max Factor's Super-Indelible
Vermilion Lipstick completes my color harmony make-up.
It •withstands every test . . . and it's moisture-proof too, so
that the inner and outer surface of your lips are all one color.

HOLLYWOOD'S charm discovery is anew kind of make-up,
created by Max Factor, make-up genius of [filmland. It is
color harmony make-up . . . face powder, rouge and lipstick har-
monized to blend with individual complexion colorings. Magic?
Yes ! ... as you must realize, for every picture released from
Hollywood reveals to you the perfection of Max Factor's make-up.

Society Mak.e-Up.../V?^ Powder, Rouge, Lipstick in Color Harmony

And now you may know what a difference there really can be in
make-up. The luxury of color harmony make-up, created origi-
nally for the screen stars by Hollvwood's make-up genius, is now
available to you. Max Factor's Face Powder, one dollar; Max
Factor's Rouge, fifty cents; Max Factor's Super-Indelible Lipstick,
one dollar . . . Now featured at all the leading stores.

<fro££i/ ommkC

1934 Mai Factor

Notv Free

FILL IN and mail coupon to Max Factor,
Hollywood, for your Complexion Analysis
and Color Harmony Make- Up Chart; also
48-page Illustrated Instruction Book,f'7'//<
New Art of Society Make-Up.''

■ft NOTE : For Purse-Size Box of Powder

and Lipstick Color Sampler, four shades,
enclose I o cents for postage and handling.

Your Color Harmoiiy Make-Up Chart

MAIL THIS COUPON TO MAX FACTOR,
HOLLYWOOD 1-6-78

COMPLEXIONS

EYES

HAIR

Very Light D

Fait □

Creamy D

MtJium D

Ruddy D

Sallow D

Freckled D

Olivt D

Blut O

Gray □

Gretn. D

Haacl D

Brown D

Black D

BLONDE
Light— Q Dark-.D

BROWNETTE

L.gnl-.D Dark— 0

BRUNETTE
Lighten Dark_D

REDHEAD

tight— a Dark-O

IfHjiruGny.clmS

type atotc and fiere- D

LASHES.t.'.,
I.igh, □
Dark D

SKIN Dry O
O.lyO Nonn.il D

AOE

Photoplay Magazine for May, 1934

Screen Memories From Photoplay

15 Years Ago

WANT SO MUCH!"

They expect their girls to be good
pals — and good lookers! They want
us to romp with them by day — and
romance at night. They don't con-
sider that wind and weather roughen
our hands — but they do expect us
to give them smooth hands to hold.

FROSTILLA Lotion re-
moves every sign of the double life
our hands must lead! A drop or two
of this famous preparation wards off
chapping, redness, coarseness and
other penalties of outdoor play. We
massage in a bit before we go out,
and every time we wash up; then
we re sure that hands keep the white
smoothness that men want!

They even please the
masculine nose — for Frostilla Lotion
is made fragrant with an imported
and expensive floral perfume. And
isnt that unusual in hand-lotions!

3 sizes at drug and dept. stores in U. S. &

Canada — ICi size at better 5-&-lCi stores.

(Sales Reps., H. F. Ritchie & Co., Inc., N. Y. C.)

X/fYRON SELZNICK was

advertising Olive Thomas as
the most beautiful girl in the
world. You should see the bathing
beauties of the day — Harriett
Hammond, Phyllis Haver,
bundled up like something going
by express. Pauline Frederick
told about directors she had
known, and did she like Hugh
Ford! The charming Sidney
Drews were written up, and we
had a story on Hollywood costuming. One
studio costume department had a stock valued
at all of $200,000! Stupendous? No, colossal!
Billie Burke, who also was on the cover, was
the subject of a long-distance telephone inter-
view. She was vacationing in Palm Beach with
her husband, the late Florenz Ziegfeld, plan-
ning bigger things on stage and screen. We
told how the "animated cartoon" was becoming

Ethel
Clayton

an important factor in education,
and Photoplay put the major
producers on record for clean
pictures. Ethel Clayton, widowed
by the death of Director Joseph
Kaufman, told her philosophy for
carrying on bravely, alone. In
"The Shadow Stage," "The Un-
pardonable Sin" (Blanche Sweet)
was called impressive, and "Out
of the Fog" (Alia Nazimova),
"The Brand" (Russell Simpson),
"Paid in Full" (Pauline Frederick) "The
Little White Savage," "East Lynne— With
Variations" (Marie Prevost) were treated with
respect. There was a story about William
Gibbs McAdoo acting as attorney for the Fair-
banks-Pickford-Griffith-Chaplin combine, and
Doraldina, the dancer, told us "I'm a Wild
Woman!" We also had an article on Al Jen-
nings, reformed bandit, who became an actor.

10 Years Ago

p\OUG FAIRBANKS was go-
ring to pay MorrisGest $ 10,000
a week for exploitation ideas on
"The Thief of Bagdad" and we
hoped, editorially, that Morris,
Broadway stage producer, would
at last buy himself a new hat.
Mary Alden told those interested,
"How to Lose Your Husband."
L. M. Goodstadt, Hollywood
casting director, said: "Beauty is
the least valuable of all those
things which a casting director is called upon
to buy." We began Harold Lloyd's autobio-
graphy. Richard Dix said : " I am not a wonder-
ful actor," and we said he had a sense of humor.
It was discovered about Ramon Novarro, " For
sheer nerve and daring he's the greatest swash-
buckler since D'Artagnan." Derek Glynne,
English actor, dyed his hair to get the lead in
Elinor Glyn's "Three Weeks." She wanted

Thomas
Meighan

him, but Conrad Nagel got the
role. The six best pictures of the
month were "Thief of Bagdad"
(Fairbanks), "America" (D. W.
Griffith production), "A Society
Scandal" (Gloria Swanson)," Ice-
bound" (Richard Dix), "Beau
Brummel" (John Barrymore),
"Flowing Gold." The eight most
beautiful stars of the screen were
chosen by Photoplay readers:
Mary Pickford, Pola Negri,
Norma Talmadge, Corinne Griffith, Madge
Bellamy, Gloria Swanson, Marion Davies,
Alice Terry. Terry Ramsaye's "The Romantic
History of the Motion Picture," continued in
Photoplay, had got up to 1912, the "dawn of
the modern feature picture era." And Thomas
Meighan headed a list of the greatest box-
office attractions in a poll of exhibitors. On the
cover — Ramon Novarro.

5 Years Ago

CD WIN A BOOTH'S role in
-'"'"Trader Horn" was expected
to guarantee her future. There
was no future beyond it. Phyllis
Haver was ready to marry Billy
Seaman. Gilbert Roland's
struggle for health and prom-
inence was told. Doug Fairbanks
and Mary Pickford revealed how
they managed their peaceful
home. Mary had a windblown
bob for "Coquette." Jeanette
Loff was extolled as "The All-Star Blonde."
William John Locke, having collected $50,000
from Joseph M. Schneck for a story he wrote
for Norma Talmadge, was interviewed on his
way back to England as to why his costly yarn
was not going to be produced. He said of
Hollywood, "Er — the climate is — ah, salu-
brious." And this May, 1929, Photoplay listed
as the best pictures of the month, "The Letter"

Bessie
Love

(Jeanne Eagels), "Speakeasy"
(Paul Page), "The Mysterious
Island," "Close Harmony"
(Nancy Carroll), "Betrayal"
(Gary Cooper) , " Hearts in Dixie"
(Stepin Fetchit). The girls were
still wearing flapper dresses to
their knees. Fashion pictures of
Norma Shearer very, very flap-
perish. And Bessie Love came
back — theD.W. Griffith discovery
was a reborn wow, after "Broad-
way Melody," the early talkie-musical grand
slam. The screen took Ruth Chatterton from
sweet, light parts on the stage and made her a
sizzling siren. Clara Bow was a riot on a trip
to Brooklyn — her home. She was at the height
of her popularity then. Ben Lyon, getting
ready to marry Bebe Daniels, was learning to
play bridge. The luscious cover lady for the
month was June Collyer.

Photoplay- Magazine for May, 1934

The Fan Club
Corner

MANY ardent picture fans perhaps do
not know that the various clubs, mem-
bers of the Photoplay Association of
Movie Fan Clubs, are issuing regular club bul-
letins packed with interesting information about
club activities. These enthusiastic little bulle-
tins are doing much to increase the enjoyment
of members, and to gain new friends and club
chapters in the different cities. If you have a
favorite movie star and want information about
the club formed to sponsor this star's work, or
if you want details about starting such a club,
write to the Photoplay Association of Movie
Fan Clubs, 919 North Michigan Avenue,
Chicago, 111.

The Francis Lederer Club, now an interna-
tional organization, is holding a contest among
its members to secure the best short article of
criticism on the picture, "Man of Two Worlds,"
Mr. Lederer's latest starring vehicle. The win-
ning articles will be put in "The Keynote." the
club bulletin. Every member sending in such a
letter will be given a souvenir, and there will be
three prizes. One prize will be a copy of the
novel from which the movie was made. Francis
Lederer and Ainsworth Morgan, author of the
book, will autograph the prize.

Members of the Gloria Stuart Fan Club are
extremely happy over their new membership
cards. These were furnished to the club by
Miss Stuart herself, and are personally auto-
graphed. A birthday party in honor of Miss
Stuart was held by members of the Chicago
branch of the club on April 1st. Estelle Nowak,
3223 N.CentralPark Ave., Chicago, ispresident.

Chaw Mank, of the Dick Powell Club, writes
that they are starting a new department of the
club for "shut-ins". A splendid idea, and one
that should make many new friends for the club.

Miss Luna Homan, 6272 Yucca Street,
Hollywood, Calif., is the new president of the
James Fidler Club.

The membership of the Bing Crosby Club
now contains four members of Bing's family.
They are: Bob, Everett, Larry and Ted Crosby.
All four contribute to the club bulletin.

The Joel McCrea Fan Club celebrated its
first anniversary in March. Helen Moltz, Route
3, Sheboygan, Wisconsin, is president.

Lew Ayres, honorary member of The Screen
Fans' Club is leading in the club popularity
contest for actors. Jean Harlow, another hon-
orary member, Joan Crawford and Clara Bow
are leading for the favorite actresses.

JH. BLOSS, president of the Herald Cinema
•Critics Club of Syracuse, N. Y., sends word
of the club's seventh anniversary celebration.
The three-hour dinner and program was held in
a hotel roof garden. Anita Page was a special
guest speaker. Portable sound equipment was
installed and members enjoyed the presentation
of a real movie. Besides other vaudeville fea-
tures, a special program by members of the
resident company of the Civic Repertory
Theatre of Syracuse was given.

An interesting issue of "The Harlow Herald"
is soon to appear. It will tell members about
present officers and chapter leaders who will be
candidates for offices of the club. Members,
both active and honorary, are enthusiastic
about plans to keep the club one large organ-
ization. Various chapters are then to be formed
throughout the country. At present there are
four chapters

Do these warm Spring
evenings find you drooping
like a wilted sunflower? . . . What
to do? What to do? The answer's easy! Before you
slick up for a party or crawl between the covers — ease
yourself into a soothing, refreshing Ivory bath.

Don't sing at first— just relax. And
then get to work with your nice
big cake of Ivory. Whip up a cloud
of creamy lather and massage it
into every tired pore. Goodbye to
dust and dirt and perspiration.
Ivory leaves your skin cool and
pussywillow soft. Simple, isn't it?
As for your face — doctors scoff
at elaborate beauty rigamaroles.
They know that soap-and-water is
best for the skin. Not just any
soap, of course, but Ivory Soap —
because it is absolutely pure. Ivory
protects the most sensitive com-

plexions in the world — the skins of
tiny babies.

It's smart to be a baby about your
soap! Ivory contains nothing harsh
to dry up your skin's natural oils.
No flossy colorings or perfumes
in Ivory! It's "smoother" to buy
your scent in a bottle and not in
a soap.

Get some Ivory today and start
working for your baby-smooth
Ivory complexion.

Ivory will be the finest and least
expensive beauty treatment your
skin has ever had.

Ivory Soap

99"ioo°o pure • It floats

Crackers as an Ingredient

MIRACLES can be performed with
everyday foods if you are up on
your culinary tricks. It is quite
possible to disguise even the
plainest standbys so that they are un-
recognizable.

By using crackers as an ingredient,
Minna Gombell, well-known film player,
changes the flavor as well as the appear-
ance of many very ordinary dishes.

Plan right now to put one over on the
family by "dressing up" one of
their favorites of long standing.
And when compliments begin to
fly, it is time to spring your little
joke. Of course, it's on them,
but you'll have more than your
share of fun with the experiment.
Almost like a kitchen holiday is
the preparation of a meal having
one or two really new slants.

So. let's get rid, once and for
all. of the monotony of cooking
day in and day out the self same
things in the self same manner.

We'll start this new order of
things by testing some of Min-
na's menu highlights.

Here is a wholesome dish to
serve for dinner or Sunday night
supper. And I guarantee that it
will prove a delight to both men
and women guests.

PORK TURKEYS

Have your butcher cut poc-
kets in 6 thick loin pork chops.
Brown in butter } 9 cup diced
mushrooms and 1 tablespoon of
minced onion (latter may be
omitted). Mix in 12 crumbled
soda crackers and remove from
fire. Blend with 5 tablespoons
of heavy cream and season with
salt and pepper.

Now stuff the chops with this
mixture. Close up with skewers,
season both sides of chops with
salt and pepper and bake for
about half an hour in hot oven.

New twists to apparently
ordinary foods may be
achieved by using crackers

fat until well browned.
immediately.

Serve

A perfect accompaniment is
the following. Tasty as can be,
and not nearly so difficult to
prepare as it may seem.

SWEET POTATO AND NUT
BALLS

Crush 36 ginger snaps. Mix
% of the crumbs with 2x/i cups

of mashed, cooked sweet potatoes, %. cup finely chopped
pecans, 1^ teaspoons baking powder, V/% teaspoons salt, 2
beaten eggs and 3 tablespoons heavy cream. Now form into
18 balls. Dip each in remaining crumbs, then in a third well
beaten egg, and once more in the crumbs. Drop into hot

Employing one of her cookery secrets, Minna
Gombell prepares Apple-Graham Pudding. It
can be whisked into the oven in less than no
time and, presto, you have a choice dessert

So that there is no let-down
after a faultless main course,
Miss Gombell likes to serve a
home-made dessert. With her
delectable goodies she tempts,
for "just a taste," even those
at her table who feel they have
indulged sufficiently.

This is a special favorite and
may be prepared in but a few
minutes.

APPLE-GRAHAM PUDDING

Roll 24 graham crackers,
sprinkle 3 cups sliced apples with
cinnamon and place in alternate
layers in a greased oven dish.
Cover with 21 ^ cups of milk and
dot generously with butter. Bake
in a very hot oven for about 35
minutes. Serves nine.

If you prefer a cake dessert —
one that is quickly prepared —
you must try

FUDGE DELIGHT

To 15 crumbled chocolate
wafers add 2 teaspoons baking
powder and 1 teaspoon salt.
Cream together 3^ cup butter
and % cup sugar. Mix in 2
squares melted bitter chocolate.
Add 1 beaten egg and 1 teaspoon
vanilla. To this mixture add
alternately the crumbled choc-
olate wafers and, gradually a
J^ cup of milk. Beat until
smooth. Bake in a moderate
oven for approximately 15 min-
utes.

Butter Cream Icing on this
cake is decorative and delicious.
And it may be scurried up in
practically no time at all.
Method: Cream together \i cup
butter and 2 cups confectioners'
sugar. Add beaten white of 1
egg. Make a paste of 1}^ tablespoons cocoa and IJ2 table-
spoons of hot water or hot coffee and add to first mixture.
Coffee is best, as it adds considerably to the flavor of the
icing. Using these amounts, you will have enough for both
filling and decoration.

Photoplay Magazine for May, 1934

The Star-Maker
Whose Dreams
Turned to Dust

| CON l!M I D FROM PAGE 51 ]

The only picture he ever "cleaned up on"
was "Way Down East." It made money,
not because it had been cheap to produce,
but because it was phenomenally popular. He
put tremendous sums of money into the making
of it, went heavily into debt. He paid §175,000
for the story, in the first place. Then, with
customary care, he insisted on filming it in
New England, and waiting for each of the four
seasons to roll around so that none of the
scenery would need to be faked. The com-
pany started to work in the fall. Production
continued during the bitter cold New England
winter, through spring, and into the summer.

(GRIFFITH was rewarded by seeing his pic-
^Jturc run for over a year in a Broadway
theater at a five dollar top!

In part, his screen glory was due to his
canny ability to spot talent.

Two girls came knocking at the door of the
old Biograph studio one day to see Gladys
Smith — Mar)- Pickford, of course. Griffith
answered the door. The girls were Lillian
and Dorothy Gish.

Griffith approached a young man in a
theater lobby one night and urged him to go
into pictures. The man was Doug Fairbanks.

Once a freckle-faced youngster sneaked into
the studio to watch her sister play an extra
bit. Griffith saw the girl — plain, unattrac-
tively dressed. Her name was Mae Marsh.

Griffith gave Wallace Reid his first chance in

Another English beauty, loaned to

the American screen. Madeleine

Carroll's first picture here is "The

World Moves On"

invitations are pointing the new trend . . . Enter-
taining at home conies into its own again. Set your
tahle beautifully, with the loveliest Silverware of all —
Community. Five designs, each distinguished by its
own especial smartness, await your selection, where
fine Silver is sold.

community plate: 6 Teaspoons, S2.73, Service for 6, $29.75

community china: 6 Dinner Plates, $7.00

community crystal: 6 Goblets, $7.00

COMMUNITY PLATE

LEADERSHIP IN DESIGN AUTHORITY

'reduce

YOUR WAIST AND HIPS
THREE INCHES IN 10 DAYS
... or it will cost you nothing!

Photoplay Magazine for May, 1934

"The Birth of a Nation." He launched Con-
l stance Talmadge on her movie career in "In-
| tolerance."

He noticed an electrician on the set one
day, took him off the job and gave him a
featured role in a movie. The man was
Charles Emmett Mack.

Henry B. Walthall, Miriam Cooper, Carol
Dempster, Ralph Graves, Blanche Sweet,
Seena Owen, Eric Von Stroheim, Richard
Barthlemess, Robert Harron, Mildred Harris,
Gladys Brockwell — all were Griffith-made stars.

But Griffith never grew rich on these "finds."
And the stars, incidentally, rarely found happi-
ness in the success that Griffith gave them.
Tragic deaths cut short the careers of four of
them — Wallace Reid, Mack, Gladys Brock-
well and Bobby Harron. And sorrows and
misfortunes accompanied the others.

■"TODAY, a number of the famous people once
associated with Griffith have slipped into
oblivion or, like the director himself, are liv-
ing in comparative obscurity, hoping they may
still be given a chance to "come back." The
exceptional Richard Barthlemess alone among
the erstwhile proteges of Griffith has enjoyed
uninterrupted movie stardom. The Gish sis-
ters are much better known [to the New York
stage than to pictures now. Fairbanks and
Pickford still are prominent names, of course,
but they have been in retirement for lengthy
periods in recent years.

For himself, Griffith says he doesn't want
to "come back."

"I am tired of movies! To suggest my mak-
ing another film is like asking a pensioned
bricklayer to build another wall."

But his dreams belie his words.

. • . at our expense !

O nave
REDUCED MY HIPS 9 INCHES
with the PERFOLASTIC GIRDLE"

. . . writes Miss Healy
"I reduced from 43 inches to 34y2 inches"...
writes Miss Brian. .."Massages like magic"...
writes Miss Carroll . . ."The fat seems to
have melted away"... writes Mrs. McSorley.

• So many of our customers are delighted
with the wonderful results obtained with
this Perforated Rubber Reducing Girdle
that we want you to try it for 10 days at
our expense!

• This Girdle will prove a great boon to
you, for now you can be your slimmer self
without exercise, diet or drugs.

• Worn next to the body with perfect
safety, the tiny perforations permit the
skin to breathe as its gentle massage-like
action removes flabby, disfiguring fat with

every movement stimulating the body

once more into energetic health !

This illustration of the Perfolastic Girdle also
features the NEW Perfolastic Uplift Brassiere!

SEND FOR TEN DAY FREE TRIAL OFFER!

PERFOLASTIC, Inc.

Dept. 915, 41 EAST 42nd ST., New York, N.Y.
Please send me FREE BOOKLET describing
and illustrating the new Perfolastic Girdle and
Brassiere, also sample of perforated rubber and
particulars of your 10-DAY FREE TRIAL OFFER.

Name

A ddress

And, finally, he admits that he does think
of yet another movie — another picture of the
South. It would be a story of the great South-
west, with romantic, adventurous Sam Houston
as the central character.

A pioneer in introducing startling ideas, new
developments in picture making, Griffith now
has only one plan for improving pictures. And
that, strangely enough, has nothing to do
with the producing of movies, but rather with
exhibiting them. He wants, by some means, to
make sure that everyone who sees a picture,
observes it from the very beginning. He feels
that good feature pictures are carefully built,
and that the artistic and dramatic effect is
lost when the latter part of the picture is seen
first.

In large theaters, Griffith would have a
second auditorium where shorts and news reels
would be shown to late-comers, while they
waited for the next feature showing to begin.
The plan is expensive, but Griffith, as usual,
is thinking of the artistic effect — not of the
moneybags!

/GRIFFITH is not bitter because others
^^reaped the fortunes that his pictures made.
He laughs when he tells you that he worked at
Biograph for only fifty dollars a week, because
he thought his pictures weren't making mon-
ey, and afterward discovered that a few men
there were cleaning up on his productions.
For him the weeks of toil without salary on
"The Birth of a Nation" were filled with
adventure. And the debt he plunged into to
make "Intolerance" was well worth while,
because the picture was an outstanding
example of cinematic technique.

So now a columnist has written that David

City.

.State.

Use Coupon or Send Name and Address on Penny Post Card

Cliff Edwards (Ukelele Ike), is all dressed up in plumes and whiskers for

his role of King Henry VLTI, in the Fox movie version of "George White's

Scandals," just released

Photoplay Magazine for May, 1934

Wark Griffith is broke, in need. Certainly,
many of the brilliant names, once associated
with his. are forgotten. And his old movie
masterpieces, when run off on the new and
faster modern projectors, jump and flicker
foolishly.

His glory is in the past.

Griffith knows that. He wishes they
wouldn't revive his pictures. He wishes edi-
tors wouldn't speak grandly of his past pro-
ductions as "works of art."

"They aren't!*' he says. And adds, dra-
matically, "When motion pictures have
created something to compare with the plays
of Euripides, or the work of Homer or Shake-
speare or Ibsen, or the music of Handel or
Bach, then let us call motion picture enter-
tainment an art — but not before then."

Cruising Cowboy

[ CONTINUED FROM PAGE 45 ]

cowboy troupe who have spread the fame of
the Southwest to every far cranny of the earth.

There's no phony, theatrical cowboy in
Hoot's make-up. He's the goods. He learned
to sit a pitching bronc before he ever heard of
grease-paint. In fact, back in 1912. when he
won the Pendleton, Ore., bronc-busting
championship (which, in the cowboy world,
means the world's championship), "Ed"
Gibson was perfectly satisfied with being the
best hell-for-leather rider in the rodeos.
Many of his pals today are steer-wranglers.
His ranch house in the San Fernando Valley,
near where he annually holds the biggest rodeo
on the West Coast, is fairly cluttered up with
trophies and prizes he has won in the saddle.
He took championships in New York, Salt
Lake City — even Australia.

Then he raced automobiles and motorcycles
for some years on the hazardous old dirt tracks
of the early thrill rings. He learned to herd
an airplane — he has cups to prove his cloud-
busting skill — and only last year at the
National Air Races, in a special feature race,
he miraculously escaped breaking his neck in
a spectacular crash at one hundred and sixty-
five miles an hour.

"They can't kill me," Hoot grinned, when
they picked him up, bruised and broken.

They can't kill him in pictures either.

"DUT it isn't his hard}' constitution and steel

nerves that "Hooter" is banking on now, to
carry him back again to that spot in the lime-
light he occupied when he was Universal's
largest drawing star, when they carted the
mail from his admirers around in trucks —
letters from remote spots of the world, the
middle of Africa, China, India, everywhere.
He still has that constitution in spite of all the
crack-ups and daredevil assaults of the
dangerous years. He's still as good a man as
he ever was.

Today, Hoot is counting on his straight
acting ability, his comedy talent, to carry him
back where he wants to be.

A straight diet of Westerns hasn't done right
by him, and Hoot believes it is time to turn to
his other ability.

The world tour he plans won't be the first
time Hoot has ventured far afield from Holly-
wood. When he was producing his own
pictures, he took a company of forty people
and several car-loads of horses into Canada
to spend an entire winter making "The
Calgary Stampede." He has taken some other

Hollywood Hair Styles
go romantic!

Becoming? Yes . . . but not if your hair

is TOO OILY or TOO DRY

A brilliant new star in the Hollywood galaxy
revived this womanly style from the days of
hoop skirts and loving hearts. But it looks far
from romantic if you try it with oily, stringy
locks. To correct over-oily hair, use the Packer's
Pine Tar Shampoo treatment given below.

To correct OILY hair:

PACKER'S

PINE TAR SHAMPOO
for OILY hair

Another version of the"back to charm" move-
ment is this coiffure of a first magnitude star.
Brittle, wispy, fly-away hair will not cuddle
into waves and curls of such alluring tender-
ness. If your hair is too dry, give it regularly
the Packer's Olive Oil Shampoo treatment sug-
gested in this column.

Help for DRY hair:

Don't put up with dry, lifeless,
burnt-out looking hair. And don't
— oh, don't— use a soap or shampoo
on your hair which is harsh and
drying. Packer's Olive Oil Shampoo
is made especially for dry hair. It is
a gentle "emollient' ' shampoo made
of pure olive oil. In addition, it
contains soothing, softening glyc-
erine which helps to make your
hair silkier and more manageable.
No harmful harshness in Packer
Shampoos. Both are made by the
Packer Company, makers of
Packer's Tar Soap. Get Packer's
Olive Oil Shampoo today and begin
to make each cleansing a scien-
tific home treatment for
your hair.

PACKER'S

OLIVE OIL SHAMPOO

for DRY hair

READ FREE OFFER BELOW

Photoplay Magazine for May, 1934

foreign trips himself, but never off the Ameri-
can continent to make pictures.

Again, he plans to be the head man, leading
his outfit into authentic foreign settings,
"travelin' light'' with his camera crew,
director and necessary cast members. He will
fill out his picture with native talent, who will
provide the contrast for his humorous Ameri-
can cowboy character.

If things go as he expects, it will be a globe
circling tour.

Hoot will be the first international cowboy,
dishing out that universally welcomed, inter-
national commodity — laughs.

EYES

SAY MORE

than lips ever can.

— Hoiv to beautify your eyes
in jO seconds.

TOVELY eyes depend on long, lovely lashes.
You, too, can beautify them in 40 sec-
ends! You'll be delighted at your utterly
changed appearance— so will others.

You'll never realize the power of beauti-
ful eyes until you try Winx— the perfected
formula of mascara in either cake or liquid
form. Your eyes— framed with Winx lashes
—will have new mystery, new charm.

So safe— smudge-proof, non-smarting, tear-
proof— Winx is refined to the last degree.
Yet so quick to apply— a morning applica-
tion lasts until bed-time.

Millions of women prefer Winx to ordi-
nary mascara. New friends are adopting
Winx every day. Without delay, you, too,
should learn the easy art of having lustrous
Winx lashes. Just go to any toilet counter
and buy Winx in either cake or liquid. Full
directions in each package.

To introduce Winx to new friends, note
our trial offer below. Note, too, our Free
Booklet offer, "Lovely Eyes— How to Have
Them". It not only tells of the care of lashes,
but also what to do for eyebrows, how to use
the proper eye-shadow, how to treat "crow's
feet" and wrinkles, etc., etc.

WINX

For Lovely Eyes

Cake or

FREE

Merely send

Coupon for "Lovely Eyes— How to Have Them"
Mail to ROSS Co., 243 W. 17th St.,N. Y.City

PH-5
Same

Street

City State

If you also want a month's trial package of Winx
Mascara, enclose 10c, checking whether you wish
□ Cake or □ Liquid □ Black or D Brown.

He's as enthusiastic about it as if he were
just getting his first camera break, with an
eagerness to get going, which belies his fifteen
years' record as a star.

"The straight Western idea has been worn
pretty threadbare," he says. "I've been in
Westerns for years, and they don't hold as
much promise for me as comedy does.

"Still, I don't want to get away from being
a cowboy, because that's what I am — so I'm
amalgamating myself."

Already he has stories in mind to fit every
country he will invade with his camera and
cowboy gear.

"I'd Never Let My Daughter Be A Star"

CONTINUED FROM PAGE 60

eyes. Xow I know they pay, all along the way,
for their success. That is the way life is.

"And I hope I don't sound morbid in saying
these things,'' Sylvia amended quickly. "I'm
not, really. I feel that I am one of the luckiest
girls in the world to have enjoyed the big
moments life can offer and still be young."

Even in the midst of Sylvia's picture success,
there arose one of those spectres of disillusion.
It was when her real father, long a complete
stranger to her, suddenly bobbed up last year.
If she had not been a star, the incident might
never have occurred.

rTTIE story goes back to Sylvia's mother, w ho

had come from Russia twenty-live years
ago.

She married Victor Kosow, and to them
little Sophie was born. Later, her mother
changed the child's name to Sylvia.

The couple were parted, and Mrs. Kosow
went looking for work. She could sew. And
she found employment in the workroom of one
of Xew York's smart shops — stitching spangles
on beautiful evening gowns for lovely ladies of
Broadway.

It fired her with a burning ambition to have
her own girl-child enjoy these luxuries. And
toward that end Bea Kosow worked year in
and year out, that Sylvia might later get some-
where in the theater world.

Then she met Dr. Sigmund Sidney, a dentist.
After Bea Kosow married Dr. Sidney, they
moved from their simple little Bronx flat to a
rather luxurious suite on lower Fifth Avenue.

Dr. Sidney applied for adoption papers to
make Sylvia his own daughter. And received
them.

Sylvia attended Washington Irving High
School, and it was there she made her first hit
in a school play. A small beginning, but it
stirred her ambitions. And with her mother
constantly encouraging her toward the theater,
Sylvia joined the acting school of the Theater
Guild.

■"THE earl)- days of her career were hard ones.
Opportunities were scarce. When it did
seem that she had a good chance in " The Chal-
lenge of Youth," she injured her back, doing a
strenuous bit of stage business while the play
was being tried out in Washington. In another
role, she tripped back-stage and suffered a
broken ankle.

Al Woods, veteran Broadway producer,
gambled his judgment on her histrionic ability
and let her have the ingenue lead in "Crime."
Sylvia was established as an actress after this
play, which had a long and successful run.

But it was followed by a series of flops. One

play after another in which she obtained a rdle
opened, only to close a week or so later.

Then came "Gods of the Lightning," in
which Sylvia won new laurels by the tragic in-
tensity of her performance. It led to the stage
role of " Bad Girl."

A motion picture producer was in the audi-
ence when "Bad Girl'' opened. And at the
close of its run, Sylvia Sidney was on her way
to Hollywood.

But she didn't remain. Disappointed by
what the cameras did to her, and the part
assigned her in "Thru Different Eyes," she re-
turned to Broadway.

Do you remember " City Streets," in which
she did such line work opposite Gary Cooper?
And Theodore Dreiser's "An American
Tragedy"?

These pictures were made on Sylvia's second
trip to the studio city, and proved how she
could really register under proper conditions.
She began to like Hollywood. And she stayed
on, under an enviable Paramount contract, to
do such important roles as Jennie Gerhardt, a
story she had wanted to act ever since she read
Theodore Dreiser's novel at the impressionable
age of fifteen.

But into the flush of this success came the
moment when Sylvia had to make a decision;
a momentous decision, which friends advised
her might wreck her career.

Her father, Victor Kosow, showed up and
caused quite a front page stir when he de-
manded Dr. Sidney relinquish his adoption
rights to Sylvia.

Mrs. Sidney had not seen him for a long, long
time. Sylvia, bewildered, consulted her at-
torney.

(~\S his advice, she decided once and for all to
^^have a showdown. It took plenty of
courage to face that issue, and eventually an
out-of-court agreement was reached, with Kos-
ow withdrawing his suit. She chose to remain
Sylvia Sidney, adopted daughter of the man
who had been so great a help to her and her
mother.

And for her definite stand and her courage
in this grave moment of decision, the picture
world loves Sylvia Sidney all the more.

But these — and other things — are the in-
cidents which have left their scars; the things
Sylvia refers to when she says the path to
picture glory is rocky with disappointment and
disillusion.

And looking back, from her early twenty-
fourth j^ear, Sylvia insists:

"Yes, I'm glad I have attained stardom.
But I'd never let my daughter be a star. The
price is too high."

And Was Gloria
Burned Up!

[ CONTINUED FROM PAGE 35 I

ior Katharine Hepburn in 'Morning Glory.'
"The picture we were to do was 'Glamour.'
I had been taking singing, dancing and fencing
lessons for some time, working hard during
every spare moment. Now I saw this picture
as the opportunity to use what I had learned —
at last. It was the sort of part that really
gives an audience pleasure — which is the only
test for any part. Then I went to San Fran-
cisco for a vacation before the picture was to
begin.

'•While there I picked up a paper and read
that Constance Cummings had been signed to
play the part!

" T SAW red. Couldn't believe it. Came fly-
■*• ing back to Hollywood — and it was true.
Nothing I could do about it. Just another
one little good-hearted, good-natured Gloria
was supposed to take on the chin without a
squawk.

"But Gloria was really fed up this time.
She wouldn't take any more. All the talk
about 'the show must go on,' fell on my
unresponsive ears. I answered. 'For what?'

" Must it go on for me to play those rubber
stamp ingenues that are death to ambition?
My second year had been simply a repetition
of the first. Routine — turn down the corners
of your mouth here, smile there, wear some
glycerine tears in this one. Things that
literally paralyze your imagination, because
no demands are made on it.

"I would not go on. And a letter was
waiting for me at home that made the decision
all the more firm. It was from my old boss.
Joseph Coughlin, who once edited the Carmel
paper I wrote for. He offered me a post on
the North China Daily News, in Shanghai.
A long way from Hollywood — but I wanted
to be a long way from Hollywood.

"I would rather be a reasonably good
newspaper woman any day than an indifferent
actress with nothing but technique and a few
tricks. I honestly have ideals about the
theater. There is only one way to be an
actress, and that is to act. You learn to drive
a car by driving — to be a writer, by writing.
And you learn to act by playing a variety of
good parts that require all the imagination and
ability you can bring to them.

"TT isn't money or position or fame that I
want, believe me. I think the most tragic
thing that could happen to a picture actress is
to be through at twenty-five or thirty, with a
million dollars, and nothing to do. I would
rather end up just a nice person doing any-
thing— and doing it well — than finish as a
mediocre, technical actress. Look at the
marvelous lives Marie Dressier and May
Robson have had. That's what I want.

"There was no chance of stepping out to
another studio, because I had a contract with
Universal. Work is the one important thing in
life — and as there's only one life, you might as
well have fun doing it. The way you have
real fun is to enjoy your work. I've never
done anything yet I didn't honestly believe in.
except a few bad pictures. And I decided then
and there — I had made my last one of those!
That was over.

"The Chinese newspaper business was on
the level. I was all set to go.

Photoplay Magazine for May, 1934 99

The surprise of the
smart shoe season is in this

JNow you can indulge your
flair for smari footwear, wiih-
oui conceding a single con-
sideration of foot comfort. And
you can do it without even a
suspicion of extravagance.
The answer is very simple . . .
Vitality Health Shoes. For here
are fine quality shoes inspired
with the smartness of true style,
yet shoes that gracefully ful-
fill their function of keeping
you constantly foot-happy.
Made over lasts that possess
conforming and supporting
features, the y give a new sense
of foot-freedom to the fortunate
foot that wears them. Why not
discover them for yourself . . .
and walk in the charmed circle
of Smartness, Fit, Economy
and Vitality.

VITALITY SHOE CO., St. Louis

Division of International Shoe Co.

• Vitality Health Shoes are also available lor
children and young moderns in their teens. Spe'
cial fitting features, all-leather quality, and smart,
youthful styling make them the ideal shoes for
youth. Priced $2.00 to $S 00 according to size.

A/ 1 T A l | T Y

health slu

;■

we*s

Z E S

TO 11

' WIDTHS A A A A TO EEE

IOO

Photoplay Magazine for May, 1934

"The fight, which had nothing whatever to
do with Margaret Sullavan personally, but was
indirectly inspired by her, was a success.

"They have given me a good part to play —
at last.

"The picture is 'I'll Tell the World'— with
Lee Tracy. What a break to play with Lee.
And what a coincidence, as it is the first
picture for both of us since our late un-
pleasantness.

" T FEEL gay and well and happy for the first
A time in ages. One's work has such a power-
ful effect on mind and health. Working in a
picture I dislike, I am two other persons.
The old routine part puts me in a glum,
morbid silence, full of unspoken resentment.
These things actually poison the system and
the mind.

"But now! The thrill of working with Lee,
of a good part in a good picture, with a grand
director — I tell you, it's like moving into
another world. A good world where the sun
shines and you like everybody!''

THEY'RE NEW . , . They're differ-
ent! Sparkling tidbits of delight-
ful chewing gum sealed in crisp
candy coating. Colorful . . . each
rich color a different flavor. Five
flavors from which to choose:
Peppermint — Spearmint — Lico-
rice— Cinnamon — Tutti Frutti.
Pick your favorite . . . but try
them all. Try them today. Four
Tempters in each transparent
pack. Three packs for five cents.

V*- .

»S<(

JWiAfo*'*

Gloria stretched luxuriously, and looked
around the little, cluttered dressing-room with
an indulgent smile.

"Margaret is welcome to my old dressing-
room. Constance can have Lowell Sherman.
Of course, I will never quite recover from the
loss of ' Little Man ' — but I can calm down and
be myself once more. The fight is over, and
not being naturally contentious, it was a
strain. At least, it's over as long as they
continue to give me stories with real acting
parts such as I have in 'I'll Tell the World.'

"It took me a long, long time to work up
to it — a lot to get me really started — but I'm
darn glad of it now.

"I learned why actresses are tempera-
mental. They have to be. Producers don't
think they are any good, otherwise.

"From now on, write this down in your
little red book: temperamental Gloria Stuart.
Whenever it becomes necessary.

"Because the girl who raises the biggest fuss
gets the most attention — and the best parts
to plaj '"

The Mammy and Daddy of Us All

[ CONTINUED FROM PACE 33 ]

like "the old man" to be. We saw him do
David Ilaruiu before the same type of audience.
And kids in their excitement leaped up in
their seats and squealed at the top of their
lungs, " Gee, what a swell pitcher! "

No doubt the kids missed the import of
Will's political gags and the more subtle of
his comments on human nature, but none
missed the point that here was a winking,
twinkling little man doing good with both

hands and dodging the credit, with all the
bashfulness of a grammar school graduate.
To them it was not a show. Will was just
papa and so natural they felt, with the intense
imagination of childhood, that they were
right in the Harum dining-room eating Christ-
mas turkey. You could almost hear their lips
smacking!

And grown-up audiences are practically the
same. In Paris where, not so long ago, they

"Toots," pet on the set of "We're Not Dressing," watches while a
sequence is shot. The lady watching "Toots" is Ethel Merman, who
makes her screen debut in the new Bing Crosby film

Photoplay Magazine for May, 1934

l oi

used to throw decayed vegetables at a screen
that showed American films they did not like,
the audience did everything but embrace the
ushers in exhibiting their pleasure over "She
Done Him Wrong." Mae West at once be-
came the toast of the boulevards, and one
writer described her as "a cocktail of mother-
hood, as shapely as the glass it is poured into,
as round as the olive which lies on the bottom,
as comforting as the drink when swallowed."
Designers created Mae West frocks; mil-
liners made a rush for the ostrich, and plumes
became the vogue. In London the Mae West
lingo united all classes, and "Come up and
see me sometime" became the classic form of
invitation from Mayfair to Convent Garden.

TN these United States, more people went to

see Mae than had ever favored any other star.
Everybody went: doctors, detectives, dry-
cleaners and dumbbells. She was a sensation
no one could explain. Yet, in the final analy-
sis, it is all quite simple. We forget that she
mad her debut during the depression when
people were downcast, disheartened, and
dragged themselves about with long faces and
limp wallets. In times like these, people are
more or less indifferent to sex-appeal; what
they want is someone to lean on — they want
understanding, encouragement, sympathy —
they want that essential, unselfish love which
only women have — some the day they are
born, and all of them w-hen they are mothers.

And this is the spirit that Mae West dis-
tilled in the celluloid at Hollywood! She
had it and she could dish it out. It went forth
wrapped up in a hard-boiled sexy style and
tied up with risque situations and deep laughs.
She was a sermon in a burlesque theater. In
a word, Mae West came along with this pro-
found, all embracing maternal appeal — some-
thing she probably doesn't know she has — at
a time when the whole world was down and
out and crying for a mother. What a break
for Mae! What a break for the world! People
go to Mae West pictures for the same reason
little boys run to their mothers when they faw
down and go boom!

If you want proof, ask the Hollywood
bookkeepers!

This side — the sunny side — of the West
character crops up repeatedly in her pictures.
In "She Done Him Wrong," for example, we
find her going far out of her way to befriend
the girl threatened by the white slavers. Again,
in "I'm No Angel," she plays mother to a girl
performer, giving her a jade necklace in the
hope of making her feel better. When her
rascally husband comes out of jail, Mae for-
gets the past, finds him a job and gives him
money.

"THERE'S nothing strikingly original about
any of these incidents, except that they
sound like a thousand-and-two similar acts of
generosity she has been performing all her life.
She believes in "bein' reg'lar." Mae is known
on all circuits as a sucker for a hard-luck
story, and today she packs a roll of bills under
her garter for actors who happen to be down
on their luck. They say she has never let
down a friend.

As a matter of fact, all of us have been mis-
led by the red-light roles she chooses. Mae
West cannot conceal the fundamental and
elemental goodness of her soul by a wrapping
of hi-de-ho !

"Sex is beautiful," Mae told the National
Board of Review, "except when it is under-
handed."

Shaped like an hour-glass, Mae West has
the curving, abundant figure we have always

Af PHOENIX

Spring's smart "Doggys'

Collie, there, has given his name to the
light Phoenix beige hose that picks up
the light note of his mistress' hat.
Good with navy blue and true browns.
Setter begs you, with sweet sad gaze,
to notice Setter, the warm Phoenix
beige for all the bright Spring shades.
Spaniel's very snooty about the
Phoenix shade named after him — the
proper beige for corals, rusts, cinna-
mon browns. Greyhounds a beige that
will run with navy and grey beiges.
The new Phoenix "Doggy" colors are
the hosiery shades for Spring. Ask to
see them now. The pair, 85c to $1.95.

• Rings on her Fingers —
but none on her hose!

The lady is wearing Paris' latest inven-
tion in jewelry— a heavy ring carved
from a single piece of crystal. And she's
wearing Phoenix' latest invention in
hosiery — an absolutely ringless stock-
ing! What a boon to mankind this is!
These clear-as-crystal stockings give
you the perfect texture that's so flat-
tering to the leg. All for the moderate
price of $1.25, in Phoenix "Fluff,"
shadowless chiffon, No. 779.

• Back to the land!

Women who won't give up silk stock-
ings even for sports are wearing Phoenix,
and swearing by them. Here's the
secret — a Phoenix Tipt-toe that's dou-
ble, and a Phoenix Duo-heel that's
likewise. In this famous Phoenix Long-
mileage foot, you can safely present a
silk-clad calf to the world, the while
being awfully rugged and practical un-
derneath. Phoenix "Standby" service
sheers, No. 772, are $1.25 the pair.

• Spring "knits" stick
closer than a brother

So Everything Underneath has to fit
like the skin ! Phoenix Custom-Fit Top,
made of a two-way stretch fabric, will
never betray you. This discreet little
number stretches up and down for tall
ladies, or out and out for plumper sis-
ters. Nothing to fold over. Nothing
to gag the thighs. Blessed, blessed
Phoenix Custom-Fit Top ! (By the way,
it's the only one of its kind. Don't be
fooled.) Be sure to ask for Phoenix
Custom-Fit Top. The pair,$l to $1.95.

PHOENIX HOSIERY «,<*/ CUSTOM-FIT TOP

102

SAY goodbye to old-fashioned deodorants!
Perstik and Perstop give you the protec-
tion you need, in the manner that's modern.

"I need odor prevention alone," says the
woman who doesn't perspire much, "and I love
the neat, lipstick way Perstik is applied. A few
quick strokes under the arms each morning give me
complete protection for the day. No muss or fuss
. . . it's on without using the fingers. It's grease-
less, and harmless to fabrics — I use it before
or after my dress is on. Just as easy to apply
on sanitary napkins. I adore the handsome
black-and-ivory case that Perstik comes in."

"And I," says the woman who
perspires more freely,

"find that Perstop is the simplest way
to stop moisture. I just touch the sponge-neck
Perstop bottle to my underarm ... no separate
applicator or cotton needed. It dries quicker,
gives protection for days, and keeps my dresses

free from perspiration stains."
•
Perstik and Perstop have won the Good
Housekeeping Seal of Approval for safety and
effectiveness. Beauty advisers to 10 million
women recommend them. And in all parts of
the world — from Paris and London to New
York and Hollywood — fastidious women
acclaim them as the EASIEST TO USE.

5CV-

NEW WAV TO
PREVENT BODY ODOR

EACH

at your druggist or
department store

NEW WAY TO

R&Ttdiik

Feminine Products, Inc.
469 Fifth Ave., New York

KfiAAtop

Photoplay Magazine for May, 1934

associated with motherhood. Her body has
all the full beauty of Venus dc Milo who, were
she alive today, would probably be washing
diapers. She is slow-moving, quizzical, alert —
a mother who remembers her own childhood.
She has the lap and bosom of the maternal
woman and a skin a baby would love to touch.
With it all, Mae has an earthly wisdom that
comes out of a knowledge of what this limping
world is all about. This remarkable lady has
a wholesome sweep of wisdom, a halo of good
health and an inborn sense of proportion.
She has a fine straightforwardness, an honesty
and lack of pretense that inspire confidence
and trust. There is something permanent
about this strange person, something that
partakes of universal and eternal things.

XyfAE WEST tips the scales at one hundred
and twenty at a normal weighing. Allow-
ing for camera tricks and clever casting, how
does she convey that air of largeness, of ampli-
tude? It is much more than the mere physical.
It is that other thing we mentioned: It's an
emanation, an aura, a spiritual expanding, a
glow that issues from the soul. Anyhow, some-
thing hard to describe!

Now, turning back to Massa Will. Any
picture he has ever appeared in contains a
full-size portrait of the average head of a
family. Take any of them: "Lightnin',"
•State Fair," "Doctor Bull," "Mr. Skitch,"
" David Ha rum."

In the last, his chief paternal exercise is
promoting a wedding between Ann and John,
played respectively by Evelyn Venable and
Kent Taylor. But with what art, what sensi-
tiveness, what fine sympathy for the heart of
youth he goes about the job!

When Ann, who is the daughter of a friend,
comes up to Will's bedroom while he is dressing,
there is no embarrassment. With any other
actor, the audience might smirk and think
naughty thoughts. But with Will, he is so
much the father type, naughtiness occurs to
nobody.

Will arranges meetings; promotes a court-
ship under the moon by sending them off with
a balky horse; empties the dining-room for
them so they can steal a kiss; and finally helps
John financially so that they can marry. But
to be convinced of our point, all you have to
do is see the film and focus hard on the Christ-
mas dinner. No one ever was or could be a
more perfect father than Will is — bachelor
though he is in the picture — sitting at the head
of the table, carving the Christmas turkey.

TN life, as in his numerous roles, Will is
•^careless about small things — a trait which
worries his family, mayhap, but which makes
him the darling of the world. He shuffles when
he walks and slumps down in his chair. He
plays with his knife and fork while waiting to
be served. He almost always needs a hair
cut, and were it not for his wife, would wear
the same shirt forever. He is always late for
meals and when he wants to reduce, diets on
onions.

Like a great many other fathers, he is a little
cowed by his wife. He is old-fashioned, likes
small town life and is no hand for social doings.

When he smiles you melt. When the words
start flowing, you just naturally grin. His
words arc double-edged. They make you
laugh and they comfort you. His monologue
is the homely, witty horse sense you expect
from a father. His wit presses a button in
your heart, brain and liver. It is a strong
steel-made wit that can lick its weight in
senators.

NOW EIGHT-
BEAUTIFUL
COLOR PORTRAITS

of the

Popular
Film

Stars
Listed

■S-

■ - «m jjjl

Below

^L^^^^jsjB

Now

for only

15c

Not ordinary pictures, but attrac-
tive reproductions made from
the original color pastelles by
Earl Christy.

We have selected eight poses
such as those illustrated above
and have reproduced them in
color on good quality stock. Sheet
size of each picture 5%"x4%".

They will be supplied unmounted
suitable for framing or mounting
in your collection book.

This choice selection includes
the following stars

GRETA GARBO

NANCY CARROLL

JOAN BENNETT

JANET GAYNOR

NORMA SHEARER

HELEN HAYES

RUBY KEELER

CLAUDETTE COLBERT

Eight pictures now
for only 75 cents

WALT PRODUCTS. PH-S-34

155 E. Walton Place, Chicago, III.
Enclosed please find 15 cents for which send
me the eight portraits of movie stars printed
in color, as per your offer.

Name

Address

City State.

Photoplay Magazine for May, 1934

All his gags are of the parlor variety. They
are inspected and okayed by Mrs. Will or
Betty Rogers.

'"I had a gag in one of my films that maybe
wasn't as polite as it might be," he told an
interviewer several years ago. "So before we
started to shoot, I went home and told it to
Betty. She laughed and said that it was all
right. So we went ahead."

Will's original idea, back in his cowboy days,
was to run a little ranch near his birthplace in
Oologah, Oklahoma, but Fate sent him out
into the world and he became famous. But
he has never quite forgotten the idea. His
home in Hollywood is a ranch, built and laid
out to resemble as closely as possible the
ranch of his youthful fancy.

He spends a great deal of time with the
children, helping them with their lessons,
instructing them in politics and journalism.

"If I'm proud of my children, it's because
none of them is prodigies," he once said.

\A RS. ROGERS declares that Will would
■'■'■'■much rather play with kids than with
grown-ups, no matter how famous. She adds,
"Will never worries. He has never been cross
at any time in his life. And not once has he
spanked the children."

In " Mr. Skitch," he is asked if he could pre-
tend to be an Englishman in order to get a
much needed job as waiter. He replies, "To
feed my family, I'd be a Chinaman."

Like Mac, Will Rogers cannot conceal his
personality. For which, let us murmur a
prayer of thanks. It is Will we want to hear
and see. No matter what he does, we like
him. And ditto for Missy Mae. They've
got what we need nothing else but. They've
got what we all should have been born with
— the ability to take life as it comes, of meet-
ing trouble with a jest.

There they arc — Will and Mae. Mr.
Rogers can be relied upon not to haunt your
dreams, his shining orbs will not pierce the
darkness of your bedchamber — you will never
get the shivers remembering him. But if it's
comfort and the caress of a friendly hand you
want — he can deliver. In the words of the
song, Will is " No hero out of books, not much
for looks — but we love him!"

And Mae? She might be said to lack all the
things we used to think was a beautiful woman.
In the old days before Mae, when someone
told you he had just met a beautiful girl, you
at once visualized her as tall, slim, and willowy.
No, Mae is nothing like the pictures we used
to tack on the wall. Yet, there she struts —
in complete control of the situation, maker of
fashions, breaker of attendance records. She
tells her own story in the song she sings in
-I'm No Angel":

"I've got the face of a saint;
It ain't paint."

r"PHER E'S no paint. Whichever way you read
her, Mae West spells mother, and at a time
when the world is tired of sitting on the door-
steps of slender hussies who don't know what
it is all about, and who — because success came
to them while they are still young — will never
know. The booming, sibilant voice of Mae
calls out over the threshold, "Come up . . ."
And the world hurries up — crying infants,
bearded men. It's mother saying it, calling;
Mother Mae, who was sneered at by Holly-
wood and was almost broke when her chance
came.

Well, put on your ear-muffs, boys and girls.
You have heard what may strike you as a
strange story. But we'll stick to it.

KEEP YOUR THROAT

KODL

Cheer every play, smoke through
the whole nine innings — but
smoke KOOLS. You'll find your
throat will not get dry. KOOLS
are mentholated — the smoke is
cooler, better for you. But
KOOLS are so mildly menthol-
ated, the full flavor of the fine
tobaccos is fully preserved. Cork
tips protect lips. Save FREE
coupons packed with KOOLS
for Congress Quality gilt-edged
U. S. Playing Cards and other
attractive premiums. (Offer good
in U. S. A. only.)
Send for illustrated premium list.
Brown & Williamson Tobacco Corp.
Louisville, Ky.

CORK-TIPPED. ..15? /brTWENT

104

Photoplay Magazine for May, 1934

THIS IS THE NEW
AND EXCLUSIVE

AonceAA,

SIL-O-ETTE

REG. U.S. PAT. OFF.

neht No. G1J5J4

A form-fitting, inexpensive undergarment —
perfectly simple for insuring a simply per-
fect silhouette.

"PRINCESS SIL-O-ETTE" is seamless front
and back . . . has no
hooks to fasten and will
not mar your figure nor
the smartness of your
dress. Its uplift bras-
siere and other exclusive
features insure more
freedom, comfort, grace.
Sizes 32 to 42 in Tea
Rose and White.

Write us if your favored
store dots not display

'PRINCESS SIL-O-ETTE'

PRICE

M.15

SIL-O-ETTE

UNDERWEAR CORP.

"Just Leopold"

[ CONTINUED FROM PAGE 39

charge. He was seventeen-years-olcl then, tall,
slim, boyish. He was dressed as a Belgian
private soldier. As a private, he stood back
while officers passed ahead of him to follow in
the wake of the King and Queen as they entered
the studio.

After his Secret Service bodyguard had
presented me to him, I said to the prince, "How
do you wish to be addressed? "

His answer was, "Just Leopold."

T THOUGHT then that those two words

epitomized the spirit of democracy which
had endeared the Royal Family of Belgium
to peoples throughout the world.

Our studio was allotted, by schedule, just
ten minutes of the Royal Family's time.

Our first stop on the tour was at a set built
in the studio tank. A scene had been prepared
for several actors to struggle on the deck of a
boat. Two of them, locked together, were to
fall overboard. Then two officers were to
dash out of a cabin and shoot at the figures
struggling in the water.

All went according to schedule and was
enjoyed by the entire party up to the time the
ship's officers began to shoot.

At the sound of the first shot, four Belgian
officers snapped open their pistol holsters,
snatched their revolvers, alert to the fear that
an attack might be made on the life of their
sovereign.

At that moment an aide, a Belgian soldier
then living in Los Angeles, spoke quickly in
Flemish, explaining to the Belgians. They
smiled apologetically and put the revolvers
back into their holsters.

On the next set was a large enclosed stage
where Douglas MacLean and Doris May were
to enact a scene for the royal guests.

T PUSHED the Crown Prince through the
crowd that filled the stage, so he could see
better. I was standing beside the King, so I
motioned for him to step forward, too. He
shook his head and said, "No. This is one
time where height has its advantage — I can
see over the heads of the others." And he
could.

The scene being enacted was a little domestic
incident in the lives- of a pair of newlyweds
who had been quarreling and were on the
point of making up. MacLean sat at one end
of a long davenport, while Doris May sat at
the other end.

Gradually they both moved toward the
middle of the davenport. Finally, only about
a foot of space separated them. King Albert
turned to me and remarked humorously, "He's
gaining ground."

The next instant, MacLean and Doris May
were in each other's arms, and everyone
applauded.

As the party moved on, the Crown Prince
hung back, keenly interested in the workings
of the motion picture camera.

I said to him, "If there is anything you
particularly want to see or know about, just
ask me."

The Secret Service guard remarked, " You're
letting yourself in for something! He can
ask more questions in a minute than a college
professor can answer."

The Prince smiled and patted the man on
the shoulder. And from then on, His High-
ness fired question after question at me. When

I knew the answer, I gave it. When I didn't,
I referred the question to the particular
artisan whose department we were visiting at
that moment. This brought forth more
questions from the Prince.

He was never satisfied until he got all the
information possible.

People working in the studio were surprised
and pleased at his intelligent interest and his
keen zest for acquiring the right answer.

However, we were quite separated from the
royal party, and we rushed to catch up. We
found them just entering another large stage
on which a set representing the interior of an
American submarine was built.

The submarine was supposed to be resting
on the bottom of the sea. Engines were
crippled. The supply of oxygen was rapidly
diminishing.

There were ten sailors under the command
of a lieutenant, which role was played by
Jack Richardson.

""THE Crown Prince and I climbed to the top
of a six foot parallel where we could look
down into the crippled sub. Apparently, there
was no hope for rescue. One sailor grabbed a
gun, to commit suicide. The lieutenant took the
gun away from the man and, rising to his feet,
made a stirring, patriotic speech about the
traditions of the navy and how, if they were to
die, each must die like a man. The speech was
impressive and well-delivered. When Rich-
ardson had finished, the Crown Prince turned
to me and whispered, "What a pity the
audience will never hear what the lieutenant
said."

Long since, the allotted ten minutes had
been used up. The gentlemen of the com-
mittee were quite frantic. Every once in a
while one of them would dash up to Secret
Service man Bill Nye, who was in charge of
the tour, and say, "We must move on." And
Bill would answer, "They're enjoying it here.
Let them have all they want."

And they did. One hour and fifteen minutes
of it. Of course, it did play hob with the rest
of the schedule. But the Royal Family didn't

"pINALLY, when I thought every nook and

cranny of the studio had been seen and every
item of interest exhausted, I said to the
Prince, "Now, Leopold, is there anything else
you would like to see or know about?"

"Yes," he answered at once, "I want to see
how moving pictures are made."

I felt suddenly weak!

"But," I answered, "that's what you have
been seeing. This is how they are made."

"I don't mean that," he explained. "I
want to know how they are manufactured.
How they are put together."

"Oh, you mean the developing and print-
ing?" I asked.

The Prince nodded and smiled. At last I
was showing some sense.

It was a simple matter to arrange for a tour
through the laboratory. It happened that the
man in charge of the laboratory was a Belgian
named Al Brandt. He conversed with the
royal party in Flemish. The King and Queen
went through the laboratory, too. And, as
usual, the Prince lagged behind to ask more
and more questions.

From the floor of a nearby cutting-room, I

Photoplay Magazine for May, 1934

io5

secured several strips of film, seven or eight
inches long. I gave them to the Prince. He
examined them very carefully, and asked,
"What makes them move on the screen?''

The principle of the shutter was explained
to him at great length. He wanted to know
the reason for every single thing!

It seemed that everything had been ex-
plained, when the Prince suddenly asked,
"How are those pictures made that show
houses building themselves, and shoes walking
along by themselves?" He had seen some
trick photography.

rpHE Prince was keenly interested in this,
and made several notes on the subject. He
then very carefully put away, in a well-worn
leather wallet, the strips of film I had given
him. As we hurried to catch up with the
party, the Prince said, " I would like to spend a
whole week here."

''Why don't you?" I asked.

For a moment he seemed to consider it.
Then he shook his head and answered, "No —
I guess I'll have to go on."

As we hurried along we passed a young man
dressed in the uniform of a lieutenant of the
United States Army. He was an extra at the
studio, but had been an officer in the war.

When the Prince noticed the man he stopped
suddenly, brought his right hand to his cap in a
military salute. The young American soldier
returned it. Leopold was a private. The
extra was an officer. And Leopold was always
a soldier.

The King and Queen were already in their
car, waiting for the Prince. As he reached his
car, Leopold turned and shook hands with me,
saying:

"I have enjoyed every minute of my visit,
and I thank you very much for all the trouble
you have taken with me. If you come to
Europe and do not visit Brussels and call
upon me, I shall feel very badly."

TN a moment the cavalcade was on its way.
As the Prince's car passed through the studio
gates, he turned and waved goodbye. I have
not seen him since.

I have often wondered if, when I go to
Europe, and decide to look up His Majesty,
Leopold III, and with the assistance of the
American Ambassador I cut away the red
tape and finally reach the audience chamber,
he will say, as he did fifteen years ago, in
answer to my question, "How do you wish to
be addressed?"

"Just Leopold."

I believe he will. That is, if no High
Chamberlain is listening.

•>•>

ME Jealous of that
Kid? Phooey!

[ CONTINUED FROM PAGE 40 ]

generation of actors are that keep springing up
almost overnight. So, when I innocently and
without malice (well, without too much malice,
I mean) said, "And who is Ricky Arlen?" the
reporters started a hullabaloo that echoed
from the shores of the Pacific to the shores of
the Atlantic. I hope.

Now, in the first place, I was billed to play
the star role in "The Baby in the Ice-box,"
and when I heard of this newcomer being put
in my place, naturally, I burned and, without
stopping a minute, rushed over to the head

m .

^fl

■ " ib

Jt ^^"7" I***?*

M¥

Eg i

M*f W

■kbHP: j^H

*jM nn jjk

¥ „ 'mmmmm**f • ■ 3k

Mrs. Erno Rapee

wife of Noted Conductor, 7 Star Revue Radio Orchestra

laughed when she heard about the
5(¥ Lipstick for 1(¥ and then . . .

Mrs. Rapee tried the marvelous linit Beauty Bath, sent for a
lipstick (see coupon below) and is now convinced of the gen-
uine quality, delicate scent and attractive appearance of these
exquisite lipsticks.

The makers of unit, The Bathway to a Soft, Smooth Skin,
are offering YOU these astonishing values in lipsticks solely to
introduce their famous product, LINIT, and prove that using
LINIT in your bath will give you a new sensation and make
your skin feel velvety soft — immediately.

Merely send a top from a LINIT package and 10^ (wrapping
and postage costs) for each lipstick wanted,
using the convenient coupon below.

r^?p?

LIMIT

pltlOHTFU"*

PEBFUMEB
FOSTHH5*™

MiNnS

\ feel Soft

YmrSkin
Md Smooth 1

LINIT is sold by

grocers and department

stores.

CORN PRODUCTS REFINING COMPANY, Dept. P-5
P. O. Box 171, Trinity Station, New York City

Please send me lipstick(s). Shade(s) as checked be-
low. I enclose <* and LINIT package tops.

D Light □ Medium □ Dark

Name ...
Address..
City

. State..

THIS OFFER

good in U. S. A.
only and expires
Sept. 1, 1934

io6 2

MARRIED LOVE

Ietters like this prove you, too, can quick-
-J ly obtain the clear complexion men
admire and women envy. Clean your skin
to the depths of the pores ... get rid of
clogging impurities that make complexions
sallow. Ambrosia, the pore-deep liquid
cleanser, does this for you. You feel Am-
brosia tingle; you know it is cleansing.

Follow with Ambrosia Tightener if pores
are enlarged or skin is oily. Tightener is
stimulating, reduces large pores, prevents
blackheads and pimples.

If skin is dry, follow Ambrosia Cleanser
with Ambrosia Cream. With pores thor-
oughly cleansed skin can absorb cream to
end dryness, smooth wrinkles. Ambrosia
Cream penetrates, replenishes oil. Gives
skin a clear, youthful, kissable smoothness.

Ask for Ambrosia beauty aids at drug or
department stores, 75fi. Slightly higher in
Canada. Also in smaller sizes at 10^ stores.

ANSONIA'S

FAMOUS

Operas

The Favorite of Screen Stars and Society
Leaders are NOW AVAILABLE to
WOMEN EVERYWHERE through our
EXPERT MAIL SERVICE.

ANSONIA OPERAS ARE HAND TURNED

and carefully constructed on exclusive lasts. They
will not gap on the sides and slip at the heel.
These Famous Special Lasts are the talk of

New York.

Variety of
Buckles, 50c each

olOO Last
ANSONIA SHORT
VAMP OPERAS
makes your
toot appear
one to two sizes
laller and
comfort-
able.
.98

150 Last.

"The Empire
Tower" heel gives
this opera beauty
and grace that's
hard to imagine.
The highest heel
made (3 inches) yet ,
tall women pre-
fer them. S5.98

Choice of Black Patent, brown,
black, blue, beige, gray or white
kid. Beige or gray suede, white
satin or crepe, black satin or
crepe, also eight pastel doe-
skins. Lower heels if desired.

Widths A AAA to C. Sizes 1 to 9. State size, material.

color. Postpaid if remittance accompanies order, or

sent C. O. D.

ANSONIA DELUXE SHOES, Inc.

Mail Order Division 122C West 26th St., »i. York

SUBSCRIBE FOR PHOTOPLAY

See Page 118 for Handy
Subscription Blank and Rates

Photoplay Magazine for May, 1934

office to have my say. Well, the executives
were having a conference, or story meeting,
about this very picture.

A story meeting, I might say, is a meeting
where all the writers, executives, and so forth,
gather 'round and mutter, "We've gotta have
a sexy scene, that's all." So I stormed right in.
"Jes' a moment," I said, and you could have
heard "Manny" Cohen drop, the silence was
that colossal. "Jes' what is this?" I went on.
"First I'm billed to do the 'Ice-box' picture,
and now this Arlen guy is put in no-
place."

"Now, now, LeRoy," they said. "Let us
explain. You see, we bought this story some
time ago, and since then you've grown too
large to get in the ice-box."

"Can I help it if I grow?" I demanded.
"Am I responsible for Nature's little whims?"

"Well, no," they conceded. "But just the
same you gotta admit that you're not the
ice-box type any more. Now, if you'll let
Ricky Arlen have this part, we'll fix you up
with a nice, new super-special thriller where
you can hide in a railway station with Kate
Smith."

CO that's how Ricky Arlen got the part. It

was only through my own noble generosity.
Otherwise, he'd still be an unknown out at
Toluca Lake. Playing with the ducks.

But mind, while I have only the kindest
thoughts and best wishes for Ricky Arlen, it
hurt, I'll admit, when I saw him being pushed
all over the Paramount lot in my own special
six perambulator with the quick absorbing
cushions. And only a short time ago it had
been mine. That cut to the quick. And when
I sneaked onto his set one day and saw him
sitting in the ice-box with a chicken leg in one
fist, I felt the injustice of it. All I got in my
first picture was a bathtub and Edward
Everett Horton. I'd much rather have had a
chicken leg any day. But no. I had to have
Edward Everett.

And here's something else that rankled in
my bosom. Did I have a real stand-in in my
first picture? Oh, no, I had to have a baby
doll. Full of Hollywood sawdust. But here's
this beginner, without even the slightest stage
experience, with a real stand-in. Now mind,
I'm not jealous. Just a little aggravated
around the white pique collar, that's all.

And another thing. I got all dressed up in
my white suede jacket (it takes me and
Georgie Raft to spring the nifty get-ups) and
strolled across the lot to give the Earl Carroll
"Vanities" girls a treat. And what do I find?
What meets my eye (roguish blue), but all
those gorgeous girls swarming around this
Arlen youngster and cooing like a lot of nit-
wits, "Oooo, isn't he ze cootest 'ittle sing.
Give us 'ittle dirls adreat, big kiss, you wonder-
ful mans." And him sitting there, taking it
big. Throwing out his romper bosom and
acting like he had a lot of "It." Say, you could
wrap all the "It" that gigolo has in a two cent
stamp and still have room for Alison Skip-
worth.

TySGUSTING, I call it.

And another thing. I pass down dressing-
room row the other day, and what do I see?
Him, sitting on Gary Cooper's lap, eating his
lunch in his father's dressing-room.

And I have to eat lunch in the nursery
every day.

Well, after all, there is a limit to what a man
can stand, so once again I stormed into the
front office and had my say.

"I'm not eating my lunch in the nursery
any longer," I declared. "If Ricky Arlen can

sit on a star's lap and eat in a star's dressing-
room, so can I."

"Well, where do you want to eat your
lunch?" they asked.

"Off Mae West's lap," I screamed. "And
not another place. It's Mae's lap or no place."

Well, it seems they'd had that same request
from a lot of actors and gotten no place, so
big-hearted me, I promised to compromise.
Mae gets to eat off my lap once a week, and
the rest of the time I get to sit on the "Vani-
ties" girls' laps and eat all my meals. So you
see, I'm not letting him put too much over on
me. After all, I've been in this world a full
twenty-one months, and I've spent most of
it right here on the Paramount lot, and I've
learned and learned. It's no wonder I'm
white-headed. It's a wonder I don't have to
walk with Joey Von Sternberg's cane.

A ND another thing. Now, I don't want to
come right out point-blank and say Mr.
Ricky Arlen is to blame for the rumor that has
been floating around lately, but on the other
hand, where did the story, "Is Baby LeRoy
through?" originate, if not with a jealous
rival?

Is Baby LeRoy through! The idea. Why,
you might as well say, is Lionel Barrymore
through. True, we both wear short pants off
the screen and burp at the wrong time, but
does that signify anything? It just goes to
show what a cross we artists have to bear. I
realize now that I'm ready to play character
parts, but what has one's age to do with
popularity today?

True, Mr. Arlen has youth. The enthusi-
astic age of eleven months, I believe. But
George Arliss, Marie Dressier and I are living
proofs that all movie-goers don't demand
youth. We've got what it takes, George,
Marie and I, and I don't care if I live to be
five, or even six years old. I'll stand and
deliver.

And speaking of standing — Ricky Arlen is
still crawling, by the way, and who ever heard
of anyone crawling up the ladder of success?
Unless it was one of those silly Marx Brothers.
They're liable to crawl up anything.

I'll never forget the day they had that big
fire scene in Ricky's picture and sent a pair
of my old rompers over for him to wear.

TF that wasn't a scene — with Ricky creating
most of it. Do you think he'd wear those
rompers? No, sir. He fought and kicked and
screamed. He was going to have his own
rompers made if all Hollywood burned. So
they held up the scene while Travis Banton,
the studio designer, came tearing over like
mad and designed Rick}' a pair of hand-
embroidered rompers, and twenty dressmakers
tore like fury getting them together.

Then, very deliberately he donned the
rompers, the waiting prop boys set fire to the
set, and he permitted the purple violets to be
singed off the front of his Travis Banton
creation.

Not in my time, I tell you, we didn't pull
any of those stunts. We wore what we were
given and liked it.

They were getting ready for Ricky's great
dramatic scene where he denounces Sally
Eilers for a two-timing mama. The cameras
were all set and waiting. Everyone was tense.
I was hiding behind one of the props, watching.

"Get over, pop," Ricky said to his dad,
Richard Arlen, who is also in the picture, "this
scene is mine. You've been taking all the
scenes in this picture now, and I've said
nothing. But this scene is mine and I'm going
to do a little plain and fancy camera hogging

Photoplay Magazine for May, 1934

io-

myself." And with that he took the exact
center of the scene.

They were all ready, now. The director
called "Camera," and Ricky began. And just
when he got to the big climax of the scene, I
let out a big raspberry.

There's a lot of tomboy left in my old body
yet, I guess.

Anyway, that fixed Mr. Ricky for that day.
I could bend over double yet, if it weren't
for my rheumatism, at the dumb-founded
expression on Ricky's face when he heard that
raspberry. Whewieee!

But now, of course, I wouldn't want you
to get any wrong ideas about us. I bear no
ill will toward Ricky Arlen. He, no doubt, is
a gentleman and a fair-enough actor for a
youth.

I will admit he's a handsome lad, if you care
for the pink-cheeked, bubble-blowing type.
And he's certainly a card with the ladies.
You should see him with a certain will-known
blonde actress I could name.

"V\ TELL, all I can say is, young people didn't
act that way in my time. I don't know
what this younger generation is coming to.
It's beyond me.

I may not, as I have said, have tin- dashing
verve and youth of young Arlen, but my art
has ripened and mellowed. In fact, I am
polluted with mellowness, as it were. My
first blush of youth is over. Quietly, and I
hope with tolerance and understanding, 1 can
retire at the end of my day's work to my little
rocking chair (ole' rocking chair got me), with
my slippers and my pipe. And my memories.

And I can't tell you what a comfort comes
to me, as I putter about my little garden, to
realize that for all these dashing young
juveniles — the Ricky Aliens of the world, as
it were — my public is still faithful to me.
And cling, even as Arliss' monocle to his eye.

Faithful to the end, to one who has spent
his life ' giving entertainment to others.
Bringing laughs and tears to all. The one and
only Baby LeRoy of the screen.

Greta Garbo Wanted to
Be a Tight Rope Walker

[ CONTINUED FROM PACE 30 1

To film Greta Garbo's old grandmother is
no easy task. If anyone thinks so — just try
it!

After I drove sixty miles to Sparrcholm,
she just simply refused to be filmed. Xo
chance with flowery language, bribes, or any-
thing else.

The old lady has already past the age of
seventy-six, and is still full of life and plenty
of determination.

TN days gone by, she lost patience with her
granddaughter's eccentricities and has never
seen her on the screen.

"Because she came from the city, she
thought she was a regular city lady and didn't
think much of my cooking," said the little
grandmother. "Once she came out here to
us to spend a few days, and I will never forget
it.

"She wanted to be a tight rope walker and
tied ropes between the trees and had every-
body on the place worried stiff.

"Yes, she would think up the strangest
things, that girl!"

dtfkt BftOADWAY-

Mis5 implicitlJ|\ . . ♦ has the
rashion Critics Kating of Tour Stars

In Ihe cilY lhal made Ihe world figure conscious, MisSimplicilY is
firsl ... as it is wherever women have a reputation for beauty. The
model sketched from life at The Broadway -Hollywood, has a
"Slide-away" front which prevents waistline breaks. The brassiere
ends that cross diagonally in back, pull in the diaphragm, waist
and abdomen. Of satin finished batiste, lace and Kendrick elastic.

'Res. V. S. Pat. Off. Pal. So. 1.SSV.19S

THE H. W. GOSSARD CO., Chicago • New York
Atlanta • London • Toronto • Melbourne

San Francisco • Dallas
Sydney • Buenos Aires

io8

Clark Gable and Claudette Colbert
in "It Happened One Night," a Columbia Picture

Get the Clear,

Lovely Skin

Men Can't Resist!

A CLEAR, lovely skin, a fresh, radiant
complexion, eyes that sparkle — hav°
you these charms that win men's hearts? If
not, try eating this new-type, scientifically
pasteurized yeast that is bringing beauty
and vivacity to thousands of women.

Skin and complexion troubles, says medi-
cal science, are nearly always caused by con-
stipation or a run-down, nervous condition.
To combat these causes of bad skin you
need to enrich your diet with certain nutri-
tive elements. In many of our most com-
mon foods these elements are entirely lack-
ing. Few people get enough of them for
maximum health.

Yeast Foam Tablets contain concentrated
stores of these corrective substances. These
tablets are pure yeast and pure yeast is
the richest known food source of the vita-
mins B and G.

These precious elements strengthen the
digestive and intestinal organs. They fortify
your weakened nervous system. Thus they
aid in building the health and vivacity that
make you irresistible to others.

These results you get with a food, not a
drug. Yeast Foam Tablets are nothing but
pure yeast pressed into convenient, easy-
to-take form. A scientific toasting process
gives this yeast a delicious, nut-like flavor.
It cannot cause gas or discomfort and it is
always uniform.

This yeast is used by various laboratories
of the United States government and by
many leading American universities in their
vitamin research.

Any druggist will supply you with Yeast
Foam Tablets. The 10-day bottle
costs only 50c. Get one today !

FREE: MAILTHIS COUPON TODAY

NORTHWESTERN YEAST CO. «

1750 North Ashland Ave., Chicago. 111.
Please send free sample and descriptive circular.

Name_

Address_
City

State

Photoplay Magazine for May, 1934

Addresses of the Stars

Hollywood, Calif.

Paramount Studios

Brian Aherne
Judith Allen
Raymond Milland
Joe Morrison
Dorothy Stickney
Adrienne Ames
Richard Arlen
George Barbier
Mary Boland
Grace Bradley
Carl Brisson
Burns and Allen
Kitty Carlisle
Claudette Colbert
Gary Cooper
Larry " Buster" Crabbe
Eddie Craven
Bing Crosby-
Alfred Delcambre
Dorothy Dell
Katherine DeMille
Marlene Dietrich
Frances Drake
W. C. Fields
William Fravvley
Barbara Fritchie
Frances Fuller
Gwenllian Gill
Cary Grant
Jack Haley
Charlotte Henry
Jay Henry
Miriam Hopkins
Roscoe Karns

Charles Laughton
Baby LeRoy
Carole Lombard
Ida Lupino
Helen Mack
Julian Madison
Joan Marsh
Herbert Marshall
Ethel Merman
Gertrude Michael
Jack Oakie
Gail Patrick
George Raft
Lyda Roberti
Lanny Ross
Jean Rouverol
Charlie Ruggles
Randolph Scott
Clara Lou Sheridan
Sylvia Sidney
Alison Skipworth
Sir Guy Standing
Colin Tapley
Kent Taylor
Eldred Tidbury
Evelyn Venable
Mae West
Dorothea Wieck
Henry Wilcoxon
Dorothy Wilson
Howard Wilson
Toby Wing
Elizabeth Young

Fox Studios, 1401 N. Western Ave.

Rosemary Ames
Heather Angel
Lew Ayres
Jane Barnes
Mona Barrie
Warner Baxter
John Boles
Clara Bow
Charles Boyer
Nigel Bruce
Madeleine Carroll
Joe Cook

Henrietta Crosman
James Dunn
Jack Durant
Sally Eilers
Charles Farrell
Alice Faye
Peggy Fears
Stepin Fetchit
Norman Foster
Preston Foster
Ketti Gallian

Henry Garat
Janet Gaynor
Lilian Harvey
Rochelle Hudson
Roger Imhof
Miriam Jordan
Victor Jory
Suzanna Kaaren
Howard Lally
Frank Melton
Herbert Mundin
Pat Paterson
Will Rogers
Raul Roulien
Wini Shaw
Sid Silvers
Shirley Temple
Spencer Tracy
Claire Trevor
Helen Twelvetrees
Blanca Vischer
June Vlasek
Hugh Williams

RKO-Radio Pictures, 780 Gower St.

Fred Astaire
Nils Asther
Ralph Bellamy
Joan Bennett
El Brendel
June Brewster
Clive Brook
Tom Brown
Bruce Cabot
Mowita Castanada
Ada Cavell
Chick Chandler
Alden Chase
Jean Connors
Frances Dee
Richard Dix
Irene Dunne
Skeets Gallagher
William Gargan

United Artists Studios, 1041 N. Formosa
Ave.

Eddie Cantor
Charles Chaplin
Ronald Colman

Douglas Fairbanks
Mary Pickford
Anna Sten

20th Century Studios, 1041 N. Formosa
Ave.

Judith Anderson
George Arliss
Janet Beecher
Constance Bennett
Arline Judge

Paul Kelly
Fredric March
Blossom Seeley
Judith Wood
Loretta Young

Columbia Studios, 1438 Gower St.

Walter Connolly
Donald Cook
Richard Cromwell
Jack Holt
Edmund Lowe
Tim McCoy
Grace Moore

Jessie Ralph
Gene Raymond
Joseph Schildkraut
Billie Seward
Ann Sothern
Fay Wray

Culver City, Calif.

Hal Roach Studios

Don Barclay
Billy Bletcher
Charley Chase
Billy Gilbert
Oliver Hardy
Patsy Kelly

Metro-Goldwyn

Katherine Alexander
Elizabeth Allan
John Barrymore
Lionel Barrymore
Wallace Beery
Alice Brady
Charles Butterworth
Mary Carlisle
Ruth Channing
Maurice Chevalier
Mae Clarke
Jackie Cooper
Joan Crawford
Marion Davies
Marie Dressier
Jimmy Durante
Nelson Eddy
Stuart Erwin
Madge Evans
Muriel Evans
Clark Gable
Joan Gale
Greta Garbo
C. Henry Gordon
Russell Hardie
Jean Harlow
Helen Hayes
Ted Healy
Jean Hersholt
Irene Hervey
Jean Howard
Art Jarrett

Stan Laurel
Billy Nelson
Our Gang
Thelma Todd
Douglas Wakefield

-Mayer Studios

Isabel Jewell
Otto Kruger
Jay Lloyd
Myrna Loy
Jeanette MacDonald
Margaret McConnell
Florine McKinney
Una Merkel
Robert Montgomery
Polly Moran
Frank Morgan
Karen Morley
Ramon Novarro
Maureen OSullivan
Earl Oxford
Jean Parker
Nat Pendleton
Esther Ralston
May Robson
Shirley Ross
Ruth Selwyn
Norma Shearer
Martha Sleeper
Mona Smith
Lewis Stone
Robert Taylor
Franchot Tone
Lupe Velez
Henry Wadsworth
Johnny Weissmuller
Diana Wynyard
Robert Young

Universal City, Calif.

Universal Studios

Henry Armetta
Lew Ayres
Vince Barnett
Dean Benton
Andy Devine
Russ Columbo
Hugh Enfield
Francesca Gall
Sterling Holloway
Edward Everett Horton
Leila Hyams
Lois January
Buck Jones
Boris Karloff
Lenore Kingston
June Knight
Paul Lukas

Ken Maynard
Chester Morris
Neysa Nourse
Edna May Oliver
ZaSu Pitts
Roger Pryor
Claude Rains
Ellalee Ruby
James Scott
Onslow Stevens
Gloria Stuart
Margaret Sullavan
Slim Summerville
Lee Tracy
Alice White
Jane Wyatt

Burbank, Calif.

Warners-First National Studios

Loretta Andrews
Mary Astor
Robert Barrat
Richard Barthelmess
Joan Blondell
George Brent
Joe E. Brown
Lynn Browning
James Cagney
Enrico Caruso. Jr.
Hobart Cavanaugh
Ricardo Cortez
Bette Davis
Dolores Del Rio
Claire Dodd
Ruth Donnelly
Ann Dvorak
John Eldredge
Patricia Ellis
Glenda Farrell
Philip Faversham
Kay Francis
Geraine Grear
Hugh Herbert
Arthur Hohl
Leslie Howard
Allen Jenkins
Al Jolson '
Paul Kaye
Ruby Keeler
Guy Kibbee

Esmond Knight
Lorena Layson
Hal LeRoy
Margaret Lindsay
Emily Lowry
Marjorie Lytell
Aline MacMahon
Frank McHugh
Adolphe Menjou
Jean Muir
Paul Muni
Theodore Newton
Pat O'Brien
Henry O'Neill
Dick Powell
William Powell
Phillip Reed
Philip Regan
Edward G. Robinson
Barbara Rogers
Kathryn Sergava
Barbara Stanwyck
Lyle Talbot
Verree Teasdale
Genevieve Tobin
Gordon Westcott
Renee Whitney
Warren William
Pat Wing
Donald Woods

Lloyd Hughes, 616 Taft Bldg.. Hollywood, Calif.

Harold Lloyd. 6640 Santa Monica Blvd., Hollywood,

Calif.

Neil Hamilton, 9015 Rosewood Ave., Los Angeles,

Calif.

Ned Sparks. 1105 No. Sycamore Ave., Hollywood,

Calif.

Alan Dinehart, 2528 Glendower Ave., Hollywood,

Calif.

Photoplay Magazine for May, 1934

109

No More Crooners!

[ CONTINUED FROM PAGE 71 J

But Bing Crosby needs some word or phrase
to describe his singing.

What should be the new descriptive term for
Crosby and the intriguing quality of his
slightly husky voice, which has made him one
of the country's outstanding vocal enter-
tainers?

What one word or term do you think best
describes him?

Since the word crooner has fallen into dis-
repute and taken on unfavorable connotations,
a new name for Crosby must be found.

It is felt that the logical source for this name
is from Bing's admirers — those who eagerly
await his screen and radio performances.

Photoplay Magazine and Paramount Pic-
ture Corporation will award S-'OO.OO in cash
prizes for name suggestions.

To the person who submits the best word, or
phrase of not more than two words, a prize of
S100.00 will be awarded.

For the second best suggestion, a prize of
$50.00 will be given.

The third prize will be S30.00, and there will
be twelve of $10.00 each.

There will also be fifty consolation awards —
personally autographed photographs of Bing
himself.

Every person who has enjoyed Crosby's
singing should be able to think up at least one
good descriptive word or phrase.

Coin the word if you want. Or combine two
words to make a fitting phrase. Search the
dictionary, ask your friends, get the family in
on the game. Then send your entries in, and
watch Photoplay Magazine for announce-
ment of the names of the prize winners.

Here are the rules:

The contest begins immediately. It ends at
midnight on April 25. All entries must be in
the editor's hands before that date. The judges
will be selected by Photoplay Magazine and
the Paramount Pictures Corporation. Their
decision will be final. Send your entries to the
Anti-Crooner Contest Editor, Photoplay
Magazine, 221 West 57th St., New York, X. Y.

Time for lunch: So Shirley Temple
left the " Fox Follies " set and fol-
lowed the grown-up stars to the
Movietone City cafe

accent the eyes and lips

/ru£~<A) tf~

• Smart faces today are expressive
faces! Your interesting features are
played up. This means that lips are
frankly rouged, and cheeks sparingly
rouged. Eyelidsaresubtly shadowed,
to give depth and sparkle. And
powder must exactly match the skin.

Lovely? Of course! But this new
make-up must be just right, for you
don't want to look "painted."

The only sure way is to choose
your make-up by your skin-tone. Not
your hair, or your eyes, or your
clothes.ThisistheprincipleDorothy
Gray follows in her Salons, and the
one she recommends to you.

And you can't go wrong! For
Dorothy Gray has grouped all her
make-up according to skin -tones.
Now you can give yourself this sim-
plified "1-2-3 Salon Make-up."

1. Dorothy Gray Make-up Foundation
Cream, to make cosmetics go on
smoothly. White, Natural, Rachel, $1.

2 . Dorothy Gray Rouge and Lipstick . . .
matched incolors,matchedin names.
The famous Cream Rouge made on
a finishing cream base, $2. Lipsticks
in clear, true colors, non-fading,
indelible, $1. Rouge and lipstick
colors: Tawny, Sunset, Flamingo,
Scarlet, Blush, Avis, Bright Rose,
D'Espagne. Dorothy Gray Eye-shadow,
in sophisticated shades, $1.50.

3. Dorothy Gray Salon Face Powder,
in exact skin -tone shades. Cream,
Natural, Rachel, Aureate, Tawny
Rachel, Suntone, Evening, $3, $1.

• NEW FREE LEAFLET, "Hoivto UsetbeNew
Make-Up, " contains complexion analy-
sis and make-up chart. Send for your
copy. Dorothy Gray, 683 Fifth Ave., N.Y.

cfj&urtl^y \^f/uu/

SALONS IN NEW YORK

JTe haie complied with the requirements of the NRA
CHICAGO • LOS ANGELES • PARIS • BRUSSELS • AMSTERDAM

I IO

ave you tried the
new improved 'j&jirlash?

Photoplay Magazine for May, 1934

In event of a tie, duplicate awards will be
made.

Each entrant may submit as many as five
suggestions, but not more than five. The sug-
gestions must be written on one side of a sheet
of paper. No entries will be returned. Be sure
to write your name and address plainly.

It's easy to think up a name! You'll be sur-

NO HEAT
NO COSMETICS
NO PRACTICING

We've made a better Kurlash now . . .
a new, improved model that turns your
lashes up to stay (in thirty seconds) and
practically wraps you up in glamour.
The ante is one dollar, and the winner
takes all. And if it's not at your accus'
tomed drug or department store, we'll
send it direct.

THE NEW, ■# S~

IMPROVED is'

The Kurlash Company, Rochester, iV. Y.
The Kurlash Company oj Canada, at Toronto, 3

Oh! How Different

It's so mild

• • so pleasant

■ ■ so kind to

the skin

DeWANS
HAIR

remover;

TOT just a
depilatory,
but a "miracle" of
beauty chemistry,
Think of it. A hair re-
mover that can be used on
the most tender face with
out smarting... without even
"pinking" the skin . . . without making
a disagreeable odor. That's DeWANS
...and it means, simply, that you
don't have to tolerate a single un-
wanted hair a moment longer... on
your face. ..on your arms or legs.
DeWANS is $1 at the best drug and
department stores.

prised, once you get started, at how many
words and phrases occur to you. Write down
every single one you can think of. Try them
out on yourself, on your friends or family. Then
cull out those that don't "hit," and send in the
best of the lot.

What is your best suggestion for Bing Cros-
by's new descriptive name?

The Shadow Stage

The National Guide to Motion Pictures

(REG. U. S. PAT. OFF.)

CONTINUED FROM PAGE 59

GAMBLING LADY Warners

CHE plays (he game "straight" — this Barbara
^Stanwyck, gambling Lady Lee. Nothing up
her ermine sleeve, no aces in her silken sock.
Then she marries Fark Avenue, or Joel
McCrea, and finds that the girls over there
stack the cards. Claire Dodd. Joel's old pal,
all but ruins the game. Pat O'Brien is the reli-
able boy friend. Fair entertainment.

HONOR OF THE WEST Universal

COME new twists make this a really interest-
ing Western, with Ken Maynard playing a
dual role and working in a bit of dancing, sing-
ing and plenty of hard riding on Tarzan, his
horse. Fred Kohler is the villain who robs the
safe, with Sheriff Maynard right after him.
Lots of thrills. Cecilia Parker.

SUCCESS AT ANY PRICE— RKO-Radio

T*\OUGLAS FAIRBANKS. JR.. turns in a
■^clever performance as a young advertising
man with an insatiable desire for wealth and
prominence, but this wandering story just
doesn't hit the mark. Genevieve Tobin does
nice work. Colleen Moore, Frank Morgan,
Nydia Westman.

SPEED WINGS— Columbia

/^OLONEL Tim McCoy dishes out plenty of
^'action, this time in an airplane. With
partner William Bakewell, he designs a motor
to win the speed championship. But all sorts
of difficulties pop up. Fights galore, zooming
planes, chases, cheers, and a thrilling finish.
Evalyn Knapp. Fine for the younger set.

LAZY RIVER— M-G-M

■"THERE are all the elements of the old style
■*■ melodrama in this, but you'll love it just the
same. Robert Young comes to the Louisiana
shrimp fisheries to swindle Jean Parker's
mother, but instead plays the hero who rescues
the old home and wins Jean's heart. Lovely
moss-hung settings. Ted Healy and Nat Pen-
dleton are side-splitting.

TAKE THE STAND— Liberty

A N independent production that rates with
the majors. Notorious columnist Jack
LaRue, is murdered while broadcasting in a
locked room. Murder takes place just before
he "spills the beans," as he has promised to do.
Several persons had a'motive — but who did it?
Thelma Todd, Gail Patrick, Vince Barnett,
Leslie Fenton, Russell Hopton.

HEAT LIGHTNING— Warners

RAMA in a deserted tourist haven, with
the sunshine contributed by those comedy

masters, Glenda Farrell. Frank McHugh and
Ruth Donnelly; and the dramatic lightning by
Aline MacMahon,Ann Dvorak, Preston Foster
and Lyle Talbot. Ann longs for excitement,
and gets her wish when robbers and Reno
divorcees visit the camp. Tragic, but well
played.

LET'S BE RITZY— Universal

rPH E only entertaining thing about this is the
expert characterization by Robert Mc-
Wade, who takes the film completely away
from Lew Ayres and Patricia Ellis without
even trying. The story is all about Lew and
Patricia trying to live on his small salary and
not succeeding — until both learn their lessons.
Frank McHugh, Isabel Jewell.

LONG LOST FATHER— RKO-Radio

V[( IT having seen his daughter (Helen
Chandler) since childhood. John Barry-
mote has quite a time "getting acquainted"
with the young lady when she becomes a per-
former at the night club where he acts as a sort
of manager and master of ceremonies. Story is
not nearly up to the Barrymore standard, but
has good dialogue and many amusing little in-
cidents.

WHARF ANGEL— Paramount

A GOOD theme that just didn't jell, this
yarn about a waterfront hard-guy, Victor
McLaglen, who sells out a friend and then
makes a noble sacrifice to redeem himself.
Dorothy Dell is believable as the girl who waits
for the man she loves. Preston Foster makes a
nice victim of circumstances. Alison Skip-
worth.

SHADOWS OF SING SING— Columbia

\ A ARY BRIAN'S romance with detective's
son Bruce Cabot is climaxed by the mur-
der of Mary's gangster brother. And, though
just fairly entertaining, this melodrama does
have a surprise finish. In an effort to clear his
son of the charge, Detective Grant Mitchell
hits upon a thousand-to-one shot which catches
the real criminal unawares. Fine camera work.

/ BELIEVED IN YOU— Fox

A GIRL'S disillusionment in her Greenwich
■**■ Yillage friends, whom she believes genuine
artists needing only a chance, is the theme
selected to introduce lovely Rosemary Ames
to the screen. Victor Jon-, Leslie Fenton,
George Meeker are the fake artists, while
wealthy John Boles proves a friend in need.
Gertrude Michael and Joyzelle add color.

Photoplay Magazine for May, 1934

I I I

HAROLD TEEN— Warners

OIS-BOOM-BAH! Adolescence plus, complete
^ with petting parties, fudge sundaes, lettered
flivvers and the like— in this illogical but amus-
ing screen translation of Carl Ed's comic strip.
Hal LeRoy, as Harold, dances his way through
in fine style, and Rochelle Hudson was cut out
for the role of Lillians. A banana split to
Patricia Ellis and rest of cast.

MIDMGH T— Un her sal

TDRETTY morbid capital punishment drama
•^ from the Theatre Guild play. The foreman
of a jury which sends a woman to the electric
chair is himself the father of a daughter who
also kills the man she loves. Not a particularly
pleasant evening's entertainment. But Sidney
Fox and supporting players are excellent.

NO FUNNY BUSINESS— Ferrone Prod.

"DUT there is lots of funny business in this
■^fluffy Continental comedy about the divorce
agency which supplies operatives to effect
reconciliations and manages to get the corres-
pondents in the wrong suites. Gay Riveria
atmosphere, done by our British cousins in the
best Hollywood manner. Gertrude Lawrence
and a uniformly fine cast.

THE INTRUDER— Allied

A XOTHER murder at sea, this time leading
^ to all the suspects being shipwrecked on a
desert isle inhabited by a crazy Robinson Cru-
soe and his man Ingagi. The story is so com-
pletely screwy that even the producers couldn't
solve it. Monte Blue and Lila Lee have nothing
worth their while to do, though Arthur Hous-
man is funny as the inebriate.

FEROCIOUS PAL— Principal Pictures

17" AZAN, a German Shepard dog with uncanny
intelligence, shows up the actors in this one.
They're all amateurish, but Kazan knows his
stuff. He acts circles around the cast, and
really seems to know what the story is all about,
which is more than we do.

BEDSIDE— First National

rT"'00 bad a good cast had to be wasted on this
time-wom tale. With a charming bedside
manner, luxurious offices, a press-agent, an able
assistant, and the diploma of a drug-addicted
M. D., Warren William establishes an excellent
practice. Arousing no one's suspicions until—
Jean Muir is lovely as his nurse-fiancee. David
Landau, Allen Jenkins.

THE NINTH GUEST— Columbia

CUSPEXSE is effectively carried to the very
^end of this story of eight persons partying
with a mysterious ninth guest — Death. The
ingenious methods their host employs in play-
ing his game of wits will keep murder mystery
devotees on their toes every minute. Donald
Cook, Genevieve Tobin, and good support.
Vince Barnett does a bit of comedy relief.

FOUND ALIVE— Ideal Pictures

•"THROUGH this jungle film of wild animal
life, is woven the story of mother love. So
strong is it that Barbara Bedford exiles herself
with her baby in a dense spot along the Rio
Grande delta, when the husband is granted
custody of their boy. Reptiles and jungle
beasts in combat provide a few thrills. But, in
all, it's pretty dull.

' Mary — I just don't know what to do with Junior. He whines like
this all day long. And he hasn't one BIT of appetite!"

'I've gone through the same thing with my Polly. Don't worry — I'm sure
all he needs is a good laxative. Give him Fletcher's Castoria tonight."

"Mary! I followed your advice — and you ought to see the smiles
around here this morning!"

"I'm so glad, Sue, Fletcher's Castoria is really the ideal laxative for children — it's
made especially for them. You see, many laxatives made for grown-ups are too
harsh for the delicate system of a child — and often do more harm than good.
Fletcher's Castoria acts gently yet thoroughly. And I'm sure Junior loved the
taste of it — all children do. Yes, that's the kind — it has the signature Chas. H.

Fletcher on the carton."

ftf^'CASTORIA

The children's laxative

• from babyhood to 11 years •

Mother, from babyhood on — there is no better first-aid for colic due to gas, for diar-
rhoea due to improper diet, for sour, or acid stomach, for flatulence or for the begin-
ning of a cold, than a good laxative. There is no better laxative for children than
Chas. H. Fletcher's Castoria.

I 12

Photoplay Magazine for May, 1934

HiW

▼V HEN you visit New York
enjoy the comforts of an ideal
home and still be in the heart of
the Motion Picture Art Centre.

Parlor with Bedroom and Bath

5 COO PER DAy FOR
3— ONE OR TWO

$125.00 per month

Largest Sioet«

Boom In $3 CQ

New York '*"'

FEB DAT

for this Beautiful 2-Room Suite.
3-Room Suites in proportion.

All rooms equipped with combi-
nation tub and shower bath and
running ice water. Ideal loca-
tion— adjacent to shopping, busi-
ness and theatre districts.

Swimming Pool and Gymnasium
FREE to Guests.

Write for details. Telegraph reservations
(Collect)

ENJOY NEW YORK'S

COCOANUT GROVE
AND TIC TOC CLUB

56th St. at 7th Ave.
New York City

Hollywood Fashions

by Seymour

Here is a list of the representative stores at which faithful copies of the smart styles
shown this month can be purchased. Shop at or write the nearest store for complete
information.

ALABAMA—
Loveman, Joseph & Loeb,
birmingham.

ARKANSAS-
pollock's,

fayette vtlle.
Pollock's,

fort smith.
The M. M. Cohn Company,

LITTLE ROCK.

CALIFORNIA—
J. W. Robinson Company,

LOS ANGELES.

The H. C. Capwell Company,

OAKLAND.

Hale Brothers, Inc.,

sacramento.
The Emporium,

san francisco.

COLORADO—
The Denver Dry Goods Company,

DENVER.

CONNECTICUT—

The Manhattan Shop,
hartford.

DELAWARE-
ARTHUR'S Apparel Shop, Inc.,

WILMINGTON.

DISTRICT OF COLUMBIA—
Lansburgh & Brother,
washington.

FLORIDA-
RUTLAND Brothers,

ST. PETERSBURG.

IDAHO—
The Mode, Ltd.,

BOISE.

ILLINOIS-
MARSHALL Field & Company,

CHICAGO.

C. E. Burns Company,

DECATUR.

Clarke & Company,

PEORIA.

S. A. Barker Company

SPRINGFIELD.

INDIANA-
WOLF & Dessauer Co.,

fort wayne
Raymond Cooper, Inc.,

indianapolis.

IOWA—

Younker Brothers, Inc.

des moines.
J. F. Stampfer Company,

DUBUQUE.

MAINE—
B. Peck Company,
lewiston.

MARYLAND—
Hochschild, Kohn & Company,
baltimore.

MASSACHUSETTS-
JORDAN Marsh Company,

boston.
Forbes & Wallace, Inc.,
springfield.

MICHIGAN—
Wm. Goodyear & Company,

ann arbor.
Seaman's, Inc.,

battle creek.
The J. L. Hudson Company,

DETROIT.

Gilmore Brothers,
kalamazoo.

MINNESOTA—
The Dayton Company,
minneapolis.

MISSOURI—

Stix, Baer & Fuller Company,
saint louis.

NEBRASKA—

Orkin Brothers,

LINCOLN.

NEW YORK—

Kalet's,

AUBURN.

Abraham & Straus,

brooklyn.
The Parisian, Inc.,

ithaca.
Bloomingdale's,

new york city.
H. S. Barney Company,

schenectady.
Flah & Company,

syracuse.
D. Price & Company,

utica.

OHIO—

The Mabley and Carew Co.,

Cincinnati.
The Higbie Company,

cleveland.
The Morehouse-Martens Company,

columbus.
The Rike-Kumler Co.,

DAYTON.

The Strouss-Hirschberg Company,
youngstown.

OKLAHOMA-
POLLOCK'S,

MCALESTER.

PENNSYLVANIA-
ERIE Dry Goods Company,

ERIE.

Bowman & Company,

harrisburg.
Joseph Horne Company,

pittsburgh.
Worth's, Inc.,

YORK.

TENNESSEE—
Loveman, Berger & Teitlebaum, Inc.,
nashville.

TEXAS—
The Wolff & Marx Company,
san antonio.

WISCONSIN—

Stuart's,

milwaukee.
Racine Cloak Co.,

RACINE

WEST VIRGINIA—

Coyle & Richardson, Inc.
charleston.

Photoplay Magazine for May, 1934

I!3

«•>

Jack the ^Bachelor

[ CONTINUED PROM PAGE 52 J

room was decorated with a highly colorful,
heterogeneous heap of woolen socks and
sweaters that shamed the rainbow, topped by
rusty riding breeches and boots. Jack had
recently returned from the famous Muldoon's
health camp, where tired New York lawyers
and actors (who had been hitting the high
spots) went through a course of sprouts that
sent them out as good as new. The corner was
where Jack unpacked from Muldoon's — ■

Other desks and many carved chests of ex-
quisite lines and workmanship sat around at
angles, covered with scattered neckwear,
papers, boot-hooks, paint brushes, and several
frantic wigs.

A magnificently carved and majestic altar
lent an ecclesiastical air to the current copy of
La Vic Parisicnne, lying open on its benign
face.

Dolls everywhere. Ragged antique charac-
ter dolls with painted cloth faces, whilom play-
mates of a departed century, sprawled over
each other in hapless unconcern. Puppets,
once animated by the facile fingers of an Italian
gentleman in the Renaissance era.

The dignified early-American fireplace at
one side of the room took on the Italian influ-
ence with a pair of enormous candles — thick
as a lamp-post and once as high — now burned
to half-length, proved by the great blobs of
melted wax spreading over the hearth onto
the floor.

No more chump! He's a soldier of

the queen— in the British film, "The

Magistrate." Claud Allister left

Hollywood for English movies

DANCE? DON'T RUB IT IN,
GWEN! IT'S ALL I CAN DO
TO WALK AT THIS TIME OF

FIDDLESTICKS! YOU ARE
COMING, BECAUSE I CAN
TELL YOU HOW TO AVOID
ANY PERIODIC PAIN.

AND SHE DID /

(

Thanks to Midol

How to End Periodic Pain:

Yes, the girl who once gave-in to periodic
pain has found a way to snap out of it.

Even those women who have always
been "knocked flat" may now men-
struate in perfect comfort.

The treatment is explained here. It's
simple. It's perfectly harmless. It doesn't
interfere with Nature's necessary process;
all it does is block the pain. And this is all
you have to do:

Watch the calendar.
Just before your time, take a
tablet of Midol, followed by a
large glass of water. The usual

pains may not start at all. But if you
feel one twinge, take a second tablet.

That's all! Relief is complete, and lasts
several hours. Two tablets will see you
through your worst day. Menstruating
becomes merely an incident. No need to
"favor" yourself, or "keep off your feet."
Keep your dates, and keep active.

Midol is not a narcotic. Don't be
afraid of the speed with which it takes
hold. Don't hesitate to try it, for it has
helped thousands of desperate cases.
Just ask the druggist for Midol — today,
so you'll be prepared.

ii4

Hereisthe SECRET

MOON GLOW

NAIL POLISH
'Beautifies Your Hands

YOU will he delighted with the smartness of your hands when
you beautify them with MOON GLOW Nail Polish. Keep
on your shelf all of the six MOON GLOW shades— Natural,
Medium, Rose, Platinum Pearl, Carmine and Coral.

If you paid $1 you couldn't get finer nail polish than Holly-
wood's own MOON GLOW — the new favorite everywhere.
Ask your 10c store for the 10c size or your drug store for the
25c sue of MOON GLOW Nail Polish in all shades. If they
cannot supply you, mail the coupon today.

Moon Glow Cosmetic Co., Ltd., Hollywood, Calif.

Gentlemen: Please send me introductory package of Moon
Glow, I enclose 10c (coin or stamps) for each shade
checked. ( ) Natural ( ) Medium ( ) Rose
( ) Platinum Pearl ( ) Carmine ( ) Coral.

Name....

St. ty No.

City

.State

PA5

"A Woman may Harry
whom She Likes!"

— said Thackeray. This great
author knew the power of wo-
men— better than most women
do. Men are helpless in the hands
of women who really know how wis
to handle them. You have suclv' '"
powers. You can develop and use them to win a
husband, a home and happiness. Read the secrets
of "Fascinating Womanhood" a daring book which
shows how women attract men by using the simple
laws of man's psychology.

Don't let romance and love pass you by. Send us
only 10c and we will send you the booklet entitled
"Secrets of Fascinating Womanhood" — an inter-
esting synopsis of the revelations in "Fascinating
Womanhood." Sent in plain wrapper. Psychology
Press, Dept. 4-E, 585 Eingsland Avenue, St.Louis.Mo.

REMINGTON

f PORTABLE

A new Remington Port-
able. Carrying case free.
Use 10 days without
cost. If you keep it, pay
only 10c a day. Write.
Say: How can I get a.
Remington Portable on 10-
day free trial offer for only
10c a day. Remington Rand
Inc., Dept. 4601, Buffalo, N. Y.

Keep Your Face Youthful
Get This Free Book

A Free booklet tells the secret. It tells
why Kathryn Murray's Five-Minute
Facial exercises are the modern natural
way to regain the charm of youth.
Simple exercises stimulate circulation
and bring natural bloom to your cheeks.
Crow's feet, wrinkles, double chin
soon disappear. You can look 5 to
10 years younger. Results as-
sured. Successfully used by 36,000
women. Send postcard forfree book.
Address: Kathryn Murray, Inc.,
Suite 558, 28 E. Jackson, Chicago.

Photoplay Magazine for May, 1934

Antique tapestries, falling apart, tacked
casually against the wall. Italian primitives,
tile mosaics, a wormy, moldy pew of beautiful
wood from some forgotten church, now holding
a splash of clean laundry, pulled out of the
boxes and tossed.

Jack dived under the Muldoon wardrobe
and unearthed his latest prize — a delicate,
tiny bird-cage of pearls (real pearls) strung on
the finest wire. Inside sat the most exquisitely
lifelike little nightingale that warbled with
haunting sweetness when you wound it up
with a golden key.

Tubes of twisted paint before a half-finished
Madonna on glass. A bottle of turpentine, a
forsaken liver sandwich (now practically petri-
fied), a canoe paddle and two sticks of grease-
paint in a huddle at the foot of the easel.

"DOTTLES, bottles, everywhere . . . ancient,
squat bottles of green and amber in strange,
contorted shapes, the glass irregular with blis-
ters and bubbles. Ponderous antique wine
bottles. Immense brandy jugs, flattened out
as if someone had stepped on them while they
were wet.

Other bottles — modern, labeled — full, half-
full, dead.

The famous Paul Manship bronze of the
classic Barrymore profile — drolly wearing a
knob of candle-wax on the end of the nose —
giving the effect of a potato on the spout of a
kerosene can — the youngest Barrymore in a
spirit of play.

We were suddenly startled by a loud explo-
sion at the far end of the studio.

Jack, busy hurling boots and shirts at the
valet to be packed, never even paused.

"Hang that stuff!" he remarked. "Cham-
pagne I bought when Louis Sherry closed his
place at Forty-fourth Street. It seems to
blow up."

We climbed over to where the champagne
blew up.

An exquisite little ivory grand piano stag-
gered under the weight of four cases inscribed
Krug, Pommery Sec and Pol Roger. A per-
manent trickle leaked onto the keys, and
dripped through the strings on more cases
stacked on the floor.

In practically no tune, there was one less
bottle to blow up.

""THE valet, in his measured calm, barged
about collecting raiment, expertly catching
things heaved at him, placing them neatly in a
huge trunk. There were still enough assorted
clothes lying around to outfit three other peo-
ple.

"That's enough," said Jack. "Let's eat."

He pulled on his plum-colored broadcloth
coat over the salmon-pink satin shirt, gave his
purple scarf a twist (oh yes, he did wear things
like that in those days), and we adjourned to
the kitchen.

Entrance to the culinary department was
accomplished by detouring through the bath-
room, which was a solid composition of tiny
mirrors, fitted together — walls and ceiling —
and a heroic litter of make-up every place else.

The kitchen, which baffles all description,
yielded a jar of caviar, dried herring, biscuits,
anchovies and a chunk of aromatic Roquefort
■ — washed down with champagne in water
glasses.

JACK sat perched on the edge of the sink
with a biscuit in one hand and a herring in the
other.

More aided than hindered by these props, he
began an inspired declamation of the Hamlet
soliloquy — the Hamlet that was soon to elec-
trify the theater-going world on two continents
— this time with a lock of hair in one eye, legs
dangling from the sink, a herring waving in
the air.

The gay, haphazard, disconnected Jack
Barrymore of fifteen years ago!

John the Husband

CONTINUED FROM PAGE 53

dining-table. Back of it stands the huge
carved Italian buffet, covered with a collection
of glass — yes, the same antique Italian glass,
now dusted and shining.

VX THEN alone, the Barrymoies dine in the
^^ little sitting-room adjoining Mrs. Barry-
more's boudoir — on other occasions at the mas-
sive table, lighted by altar candles in the tall
candelabra. There is nothing Barrymore en-
joys more than an after-dinner session in this
mellow glow, reminiscing with an old friend.

The walls are pure white. Not a single
splash of champagne!

The other living-room — the formal or recep-
tion room in another of the five houses is
paneled in dark, rich wood — a room of majestic
dignity, but warmed by that atmosphere that
always goes with books. Here are the museum
pieces of John's vast library. Massive vol-
umes, with their sumptuous hand-tooled
leather covers, many of them dating pre-
Gutenberg, or before the printing-press was
invented. A very reserved and magnificent
room — not a sock from Muldoon's in sight!

Mrs. Barrymore (Dolores Costello) has rich-
ly fulfilled the promise of her girlhood — the
Dolores we remember on the screen. She is
now an exquisite, womanly woman, who fits

into this soft Italian background as if she were
part of a mosaic — a background that was
created for her.

She is a competent and systematic person,
who keeps the machinery of her household
operating without a hitch. The perfect wife
for John. Of course, there are efficient serv-
ants, and a business manager who attends to
household bills and other detail matters.

A perfect and harmonious routine is ob-
served. But the loveliest thing about the
Barrymore menage is the fine spirit of camara-
derie, the warm, nicc-to-be-in glow that fills
the place.

TT is a very charming air — as if a group of
people lived together who loved and under-
stood each other. The Barrymores treat their
children as if they have minds and personalities
of their own. As if each is an individual with
whom they like to have a good time, and whose
company they prefer to any other. In other
words, they are civilized parents.

Comfort has not been sacrificed to appear-
ance in any single part of the Barrymore estab-
lishment. There is not a chair or couch in the
entire place that does not offer the utmost in
luxurious relaxation. And near every chair,
any place in the five houses, is a perfect reading

Photoplay Magazine for May, 1934

ll5

light, and, close at hand, tilings to read.
Things you are just dying to read. John, him-
self, is an omnivorous reader, and his taste in
literature is unimpeachable.

So, order has resolved out of chaos. In-
spired confusion has given way to interesting,
balanced routine — a full, rich life.

And don't think for a moment the old Jack
is completely subjugated by domesticity. Far
from it. His hearty Rabelaisian laughter
rocks and roars through the hills. There arc
few men alive who laugh with such lusty enjoy-
ment, right from the heels up, as John Barry-
more does.

There is no man who more fully enjoys and
appreciates his children, his beautiful wife, lis
home, more than John Barrymore. Every
moment away from his work is spent with
them. If he casts a backward glance at the
fantastic old life, it is to reminisce, as if he
were talking of something in a novel, with
some old pal — who may be newspaperman, a
sailor or a street cleaner, for all John cares.

Is it any wonder that, around four o'clock
in the afternoon at the studio, an unmistak-
able restlessness stirs the younger Barrymore,
and an unconcealed consultation with his
watch takes place every few minutes?

The only idea in the Barrymore head right
then is — how soon can he break away and get
home to the missus and the babies.

one on

Ohln i^Qone/

i TRY THIS SURE RELIEF

FROM PAINFUL FEET-

CORNS

CALLOUSES

BUNIONS

SORE TOES

$$£>'<

"If you value your
looks and health, give
proper care to the part of"
your body 'beloio the line',9'
,a'ys DR. SCUOLL.

No matter which of these foot troubles
you mayhave.Dr.Scholl'sZino-pads will
give you relief in one minute!

Wherever the shoe rubs or presses an
aching corn, painful callous, throbbing
bunion, sore toe, chafed heel or irritated
instep — apply one of these thin, sooth-
ing, healing, protective pads and quick,
sure RELIEF IS YOURS!

All ready to go! And we'll bet that

Warren William is going to be led —

with this foursome of frisky, eager

terriers

Stop the CAUSE — Shoe Friction and Pressure

Dr. Scholls Zino-pads stop the cause of these foot
troubles and prevent corns, sore toes and blisters. The
"breaking-in" discomfort of new or tight shoes is easily
avoided this safe, sure way, enabling you to work,
walk, golf or dance in comfort.

Quickly, Safely REMOVE Corns and Callouses

NOW, to quickly rid yourself of corns or callouses,
use Dr. Scholls Zino-pads with the separate Medicated
Disks included in every box for this purpose. A few
applications and the hard, dead skin can be lifted right
out painlessly.

Don't cut your corns or callouses and risk blood-poisoning. Dr.
ScholPs Zino-pads are absolutely SAFE! Made under Medical
and Orthopedic supervision injthe largest institution in the world
devoted exclusively to the feet. Sold by dealers the world over.
Get a box today!

Also Special Sizes and Shapes — THICK

In addition to the regular thin sizes, Dr. Scholl has perfected a
new series of Zino-pads, THICK, for removing pressure and
friction of shoes in exceptional cases where the regular sizes are
not of sufficient thickness to give complete relief. Ask for them
by number: No. 42 for hammer toe; No. 16 for thick corns; No.
25 for tender joint behind little toe; No. 38 for thick callouses;
No. 28 for large bunions.

D-r Scholls

Zino-pads

Put one on — the m pain is gone!
Have You Other Foot Troubles? Dr. schoii has perfected a

Foot Comfort Remedy or Appliance for every foot trouble — assuring quick, safe
relief. Ask your dealer. For FREE sample of Dr. Scholl'a Zino-pads for Corns
and valuable booklet, "THE FEET AND THEIR CARE", mail this coupon to
OK. SCHOLL'S, Inc., 114 West Schiller Street, Chicago, 111.

Name^

Address^

Photoplay Magazine for May, 1934

so vlng
acation
dollars^

COLORADO

NEW MEXICO

ARIZONA

California

Dollars will buy more' vacation
days and joys this summer in the
Santa Fe Southwest and Califor-
nia. Living cost there is still low.
Transportation cost, via the Santa Fe,
is now the /incest in a generation.

Santa Fe has deeply cut basic
fares, sleeping car charges, dining
car prices. Special low fares this
summer, too.

Any Santa Fe agent can help
you save precious western vaca-
tion dollars.

• AIR-CONDITIONING •
By summer, Santa Fe will have
air-conditioned certain cars on
all its limited trains.

W. J. BLACK, P. T. M , Santa Fe System Lines
1531 Railway Excnanse, Chicaso, Illinois
Send Picture Folders and new low Santa Fe Fares.

Name

Address

Hove

GRMHAIR

(Gray or Faded Hair IS vv
| taken as a sign ef old %•
I age; age Is Judged by
your hair.

co5iJ'0tjND* Quickly

colors your gray

streaked or faded hair IN ONE BRIEF
1 APPLICATION giving it a lovely radiance and
youthful allurement. Do not hesitate to try
this marvelous preparation. Used 19 years by
millions of fastidious women. Abeolutely uniform and
dependable. Will not stain scalp, rubor waehorT. Wot
affected by eea or Turkish baths, Bun, waving. Of
previousdyes. Easily applied at borne. „.____
14 Shades. Black to B'onde. Price $1.25 P.P»

B. PAUL'S WHITE PASTE (Formtrly Called)
•'White Henna" for lightening blonde hair grown
dark. Price S2.3S P. P. Free Advice and Booklet.

B. PAUL, inc., Dept.8-H, 21 W. 39th St., N.Y

— — — B ■BMa— — — T

Learn

PHOTOGRAPHY

and have a profitable vocation

There are many opportunities in this diEnified

and profitable profession. Learn quickly by

the famous N. Y. I. method of instruction.

nal attendance or Home Study.

Con

al, Ne

.-.if ,

phy. Free booklet, "How
to Suece fd in Photography."

New York Institute of Photography

Founded 1910

10 West 33 Street, Dept. 37, New York City

Subscribe for

Photoplay

Turn to page 5, this issue, for

subscription rate, below table of

contents

Brief Reviews of Current Pictures

CONTINUED FROM PAGE 15 ]

LADY KILLER— Warners.— When ex-girl friend
Mae Clarke becomes a nuisance, Jimmy Cagney
tries the new stunt of dragging her about by the hair.
Margaret Lindsay, Leslie Fenton. Fast comedy,
but unconvincing story. (Feb.)

LEGONG — Bennett Picture Corp.— Island of Bali
is locale of this film venture of Marquis de la Falaise.
Odd rituals of native cast provide rare entertainment.
Technicolor. (April)

• LITTLE WOMEN— RKO-Radio.— This clas-
sic is exquisitely transferred to the screen.
Katharine Hepburn, as Jo is sky-rocketed to greater
film heights. Joan Bennett, Frances Dee and Jean
Parker, as Jo's sisters, give spendid performances.
(Jan.)

LONE COWBOY— Paramount.— Without Jackie
Cooper there wouldn't be much of a picture. Jackie's
sent West to comfort his dead father's pal embittered
by his wife's (Lila Lee) faithlessness. (Jan.)

LOOKING FOR TROUBLE— 20th Century-
United Artists. — Spencer Tracy and Jack Oakie. tele-
phone trouble shooters, take you through blizzards,
earthquakes and fires. Constance Cummings and
Arline Judge supply love interest. Good fun. (April)

• LOST PATROL, THE— RKO-Radio.— When
relief arrives, all but one man (Victor McLag-
len) of this desert patrol have been shot down by
Arabs. Excellent dramatic performances by Boiis
Karloff and supporting players. (April)

LOVE BIRDS — Universal. — Amusing comedy,
especially for Slim Summerville-ZaSu Pitts followers.
Mickey Rooney adds to the fun. (April)

LOVE, HONOR AND OH, BABY!— Universal.
— (Reviewed under the title "Sue Me.") Shyster
lawyer Slim Summerville tries to frame ZaSu Pitts'
sugar-daddy. Riotously funnv, after a slow start.
( Nov.)

LUCKY TEXAN— Monogram.— A Western with
murder, intrigue, romance in addition to usual hard
riding. John Wayne, Barbara Sheldon and George
Hayes doing fine characterization. (April)

*MAD GAME, THE— Fox.— Spencer Tracy,
imprisoned beer baron, is released to catch a
kidnaper. He loves the assignment — after what the
kidnaper did to him. Love interest, Claire Trevor.
Well acted. Not for children. (Jan.)

MAN OF TWO WORLDS— RKO-Radio— After

his New York stage success, Francis Lederer should
have had a stronger vehicle for his initial American
screen appearance. It's the story of an Eskimo
brought to civilization. Elissa Landi. (March)

MANDALAY — First National. — Poor story ma-
terial for Kay Francis, miscast as shady lady, and
Ricardo Cortez. However, Rangoon and Mandalay
atmosphere perfect. Lyle Talbot. (April)

MAN'S CASTLE — Columbia.— A deeply moving
tale of vagabond Spencer Tracy and his redemption
by Loretta Young's love. (Dec.)

MARRIAGE ON APPROVAL— Freuler Film-
Barbara Kent and Donald Dillaway are married but
she doesn't know about it, though she lives with him,
because they were on a hectic party when it happened.
Complicated plot. (March)

MASSACRE — First National. — Educated Indian
Richard Barthelmess displays his marksmanship at
World's Fair, and returns to the reservation when his
father becomes ill. Ann Dvorak aids in squaring
matters with crooked government agent. (March)

MEET THE BARON— M-G-M.— Jack Pearl's
film version of his radio nonsense about Baron Mun-
chausen. Grand support; often hilarious. (Dec.)

• MEN IN WHITE— M-G-M— Torn between
difficult scientific career and easy medical prac-
tice with love of Myrna Loy, Clark Gable does a re-
markable acting job. Elizabeth Allan, Jean Hersholt,
Otto Kruger merit praise. (April)

MIDSHIPMAN JACK— RKO-Radio— A color-
ful story of Annapolis and a careless midshipman who
makes good. Bruce Cabot, Betty Furness, Frank
Albertson, others. (Dec.)

*MISS FANE'S BABY IS STOLEN— Para-
mount.— A powerful, thrilling presentation of
the kidnaping menace, with Dorothea Wieck as Baby
LeRoy's mother. Alice Brady, Jack LaRue. Excel-
lent suspense. (March)

• MOONLIGHT AND PRETZELS— Univer-
sal.— Leo Carrillo, Lillian Miles, Roger Pryor,
Mary Prian, in a musical. Familiar theme but ex-
cellent numbers. (Nov.)

MORNING AFTER, THE— British Interna-
tional.— Grand humor runs through Ben Lyon's ad-
ventures of the "morning after" — Graustarkian
intrigue, countesses, secret papers. Sally EiWs
rivals Ben for top honors. (April)

MR. SKITCH— Fox.— The trip West in the
family rattler of Mr. and Mrs. Skitch (Will Rogers
and ZaSu Pitts) provides laughs galore. Florence
Desmond's impersonations are grand. (Feb.)

MURDER ON THE CAMPUS— Chesterfield —
A worn murder plot with college setting. Police re-
porter Charles Starrett, in love with suspect Shirley
Grey, solves the mystery. (April)

MY LIPS BETRAY— Fox.— A musical comedy
kingdom in which cabaret singer Lilian Harvey falls
in love with king John Boles, and is loved by him.
El Brendel. Fair. (Jan.)

MYRT AND MARGE— Universal. — Two popular
radio stars do their stuff for the movies; an amusing
little musical. (Nov.)

MYSTERY LINER— Monogram.— Poor acting,
with exception of Noah Beery 's performance, in this
murder mystery which has for its locale a radio-con-
trolled ship at sea. (April)

*MY WEAKNESS— Fox.— Lilian Harvey as a
Cinderella coached by Lew Ayres to catch his
rich uncle's son, Charles Butterworth. Charles is a
riot. (Dec.)

MY WOMAN— Columbia.— Wally Ford gets a
radio break when his wife, Helen Twelvetrees, vamps
Victor Jory into the idea. But success goes to Wally's
head; he loses his job — and his wife. (Jan.)

• NIGHT FLIGHT— M-G-M.— All star cast,
with two Barrymores, Helen Hayes, Robert
Montgomery, Myrna Loy, Clark Gable, others. Not
mucli plot, but gripping tension and great acting, as
night flying starts in the Argentine. (Nov.)

NO MORE WOMEN— Paramount.— Victor Mc-
Laglen and Edmund Lowe teamed again for some
rowdy entertainment, with a grand battle over Sally
Blane, owner of a salvage ship. (April)

OLSEN'S BIG MOMENT— Fox.— El Brendel is
not only a janitor, but a matchmaker and a caretaker
for an intoxicated bridegroom. Plenty of laughs.
Walter Catlett and Barbara Weeks. (Jan.)

ONCE TO EVERY WOMAN— Columbia.— One
day in a big hospital. Drama, and romance with Fay
Wray and Ralph Bellamy. Walter Connolly and
support fine. Skilfully directed. (April)

ONE SUNDAY AFTERNOON — Paramount.—
Dentist Gary Cooper suddenly finds his life-long
enemy in his dental chair, at his mercy, and thinks
back over it all. Direction could have done better
with cast and story. ( Nov.)

Photoplay Magazine for May, 1934

II7

• ONLY YESTERDAY— Universal.— It's a hit
for Margaret Sullavan in the r61e of a girl who
kept the secret of her unwise love from her lover,
John Boles, for many years. Splendid direction.
(Jan.)

ORIENT EXPRESS— Fox.— Norman Foster,
Heather Angel and Ralph Morgan become involved
with several other passengers while traveling on the
Continental Express. Fair. (March)

PALOOKA— Reliance-United Artists. — All about
a country lad, Stuart Erwin, becoming a prize-fighter.
Jimmy Durante. Lupe Velez, Marjorie Rambeau and
Robert Armstrong. Grand fun throughout. (March)

• PENTHOUSE— M-G-M. — Standard melodrama
about a "high life" murder, but thrillingly done
by Warner Baxter, C. Henry Gordon, Myrna Loy,
Phillips Holmes, Mae Clarke, and others. (Nov.)

PICTURE BRIDES— Allied.— Scarlet sisters,
diamond miners, and not much else. (Dec.)

POLICE CALL — Showmens Pictures. — Wild ad-
ventures in Guatemala; a mediocre film. (Nov.)

POLICE CAR 17— Columbia.— Tim McCoy, in a
radio squad car, chases a crook, and winds up in
marriage with Evalyn Knapp, daughter of the police
lieutenant. Just so-so. (Jan.)

POPPIN' THE CORK — Fox-Educational. —
Milton Berle in a three reeler with the "repeal" angle.
Two good songs and some effective dance ensembles
(March)

• PRIVATE LIFE OF HENRY VIII, THE—
London Film-United Artists. — Charles Laugh-
ton superb and also gorgeously funny as the royal
Bluebeard; photography is inspired. (Dec.)

• PRIZEFIGHTER AND THE LADY, THE
— M-G-M. — With Myrna Loy to make love to,
and Camera to fight, Max Baer is the hero of one of
the best ring pictures yet made. He'll challenge any
lady-killer now. (Jan.)

OUATORZE JUILLET ("JULY 14")— Protex
Pictures. — A taxi driver and a girl enjoy the French
national holiday together. The comedy can be better
appreciated by those who know French. Fair. (Jan.)

• OUEEN CHRISTINA — M-G-M.— As
Sweden's Queen Christina, Garbo makes a
magnificent appearance with John Gilbert, who does
fine work in his screen comeback. Splendid support
by Cora Sue Collins, Lewis Stone, Ian Keith, and
Reginald Owen. (March)

• RIGHT TO ROMANCE, THE— RKO-
Radio. — Ann Harding, a plastic surgeon, tired
of success and eager for love and adventure, marries
playboy Robert Young, while constant doctor ad-
mirer Nils Asther patiently awaits the outcome.
Sophisticated. (Feb.)

• ROMAN SCANDALS— Samuel Goldwyn-
United Artists. — Quite different from the
ordinary musical. With Eddie Cantor and a bevy
of beauties; Ruth Etting of radio fame; some lavish
dance ensembles, and a chariot race that's thrilling
to the finish. (Feb.)

SAGEBRUSH TRAIL— Monogram.— An average
Western with the usual bad hombres and rough
riding, and John Wayne as the hero. Good photog-
raphy. (March)

SATURDAY'S MILLIONS— Universal.— Foot-
ball hero Robert Young thinks the game a racket, but
finds it isn't. Bright and fast. (Dec.)

SEARCH FOR BEAUTY, THE— Paramount —
The result of Paramount's world-wide beauty con-
test. Featuring Ida Lupino, Buster Crabbe, Robert
Armstrong and James Gleason. Amusing. (March)

SHANGHAI MADNESS— Fox.— Melodrama in
China; Spencer Tracy, Eugene Pallette, Fay Wray,
better than the story. ( Nov.)

SHEPHERD OF SEVEN HILLS, THE— Faith
Pictures. — A finely done camera visit to the Vatican,
with scenes showing Pope Pius XL (Nov.)

SHOULD LADIES BEHAVE?— M-G-M.— (Re-
viewed under title "The Vinegar Tree.") — Mary
Carlisle won't listen to reason when her parents, Alice
Brady and Lionel Barrymore, try to keep her from
marrying suave Conway Tearle. Amusing. (Jan.)

DAINTY HELEN
QUITS THE RAZOR

No More Bristly Hair On Her Arms

/"JACK— HELEN
IS LOVELY - BRIGHT-
BUT THAT MAN-LIKE
STUBBLE" ON HER ARMS-
SOMFONE SHOULD
VTELL HER .'

l'0 BE WILD ABOUT
HER -BUT I CAN'T
BEAR ANY TRACE
OF HAIR ON A GIRLS

^4^ ARM •

f HEAVENS .»
JACK MORGAN,'
— AND IT'S
ABOJJT ME —

fe>VTHAT WONDERFUL

ACK MORGAN HATES
ME— SAID I HAD
BRISTLY AKMS.

'LISTEN HELEN, DONT
USE A RAZOR -THAT
MAKES STUBBLE- USE
N-E-ET- IT SIMPLY
DANISHES UNWANTED
IAIR

HELEN DEAR.-VOURE1
SODAINTY-FEMININE-
YOUR ATJM IS SMOOTH
&S....^R09e PETALS,

THANKS
JACK-
VERY NEAT

NOW! Actually Get Rid of Arm and Leg Hair

No Masculine Stubble— No Stiff Re-growth

This new way is called Neet; an ex-
quisite toilet accessory. All you do is
spread on like a cold cream; then rinse
it off with clear water. That's all. Every

vestige of hair growth rinses off with it.
No stubble. No sharp regrowth. The hair
is so completely gone that you can run
your hand across your arm or leg and
never feel a sign of it.

Women by tens of thousands are using
it. Ending the arm and leg hair prob-
lem; quitting the razor with its man-like
and unfeminine stubble. You can get a
tube for a few cents at any drug or toilet
goods counter. Just ask for NEET. It's
really marvelous.

GOING ay MOTORO

The pleasure of your automobile trip will

be increased by the thoughtful, helpful free H

service offered by Conoco. Even special in-

formation on fishing and all other sports.

FREE

ROAD MAPS.
BOOKLETS.
DIRECTORIES

Wherever you plan to travel in
the United States- Canada or
Mexico, write us telling when
and where you want to go.

We will send, postpaid, state
road maps of each state you
pass through, marked with your
best routes, illustrated booklets
of interesting vacation and his-
toric spots, camp and hotel di-
rectories. Also aConocoPassport
which introduces you to 18,000
Red Triangle stations and pro-
vides space to record the ei-
pensesof your trip.ThisBureau,
operated by Continental Oil
Co., is America's foremost
free travel service. Address ja
Department65, Conoco Tra- Em Hi
vel Bureau, Denver, Colorado. ^jW

Read PHOTOPLAY

if you want the real news of
the world of motion pictures

PHOTOPLAY MAGAZINE, Dept. 5-P-34,
919 No. Michigan Ave., Chicago, 111.
Gentlemen: I enclose herewith $2.50 (Canada and For-
eign $3.50) for which you will kindly enter my sub-
scription for PHOTOPLAY MAGAZINE, for one
year, effective with the next issue.

Send to

Street

City State

Photoplay Magazine for May, 1934

What Do You Want To
Know About The Pictures?

Is it a good picture?

Is it the kind of picture 1 would like?
Which one shall we see tonight?

Shall we take the children?

PHOTOPLAY will solve these problems for
you — save your picture time and money.

PHOTOPLAY MAGAZINE

is truly the outstanding publication in
the great field of motion pictures. Its
stories, its special articles, its exclusive
features and departments are absolutely
different from anything to be found
anywhere else.

Photoplay's

"Shadow Stage"

is nationally famous. Here
are reviews of all the new
pictures, with the casts of
all the players. Photo'
play also prints monthly
a complete summary of
every picture reviewed in
its pages for the previous
six months. These are
but a few of a dozen great
departments in which
Photoplay is as up-tO'
the-minute as your daily
newspaper. You cannot
really know the fascinating
world of the screen unless
you are a regular reader of

PHOTOPLAY

The News

and Fashion Magazine

of the Screen

Photoplay gives you:

A wealth of intimate details of
the daily lives of the screen stars
on the lots and in their homes.

Striking editorials that cut, with-
out fear or favor, into the very
heart of the motion picture in-
dustry.

Authorized interviews with your
favorite actors and actresses who
speak frankly because Photoplay
enjoys their full confidence.

Articles about every phase of the
screen by outstanding authori'
ties who have made pictures their
life business.

PHOTOPLAY MAGAZINE

919 No. Michigan Ave., CHICAGO

Gentlemen: I enclose herewith S2.50 (Canada and
Foreign S3.50) tor which you will kindly enter my
subscription tor Photoph Y Magazine, tor one year.

5-PH-34

effective with the next issue.

Send to

Street Address

CVy State.

*SIX OF A KIND— Paramount.— This is a
howl. Charlie Ruggles, Mary Boland, W. C.
Fields, Alison Skipworth, George Burns and Gracie
Allen are six of a kind — ace comedians. If you crave
action, stop here. (April)

SIXTEEN FATHOMS DEEP— Monogram —
Against the villainous opposition of George Rigas,
Creighton Chaney succeeds in bringing in his sponges,
and winning Sally O'Neil. Fair. (April)

SLEEPERS EAST— Fox.— Wynne Gibson is the
only bright spot in a dull yarn. Entire cast, including
Preston Foster, tries hard, but plot is weak. (April)

SMOKY— Fox.— The life story of Will James'
wild colt "Smoky," from colthood to "old age."
Victor Jory turns in a good perfoimance as bronc-
buster. (Feb.)

SOLITAIRE MAN, THE— M-G-M — Crooked
doings in an airplane. Herbert Marshall, Lionel
A twill, and Mary Boland as a screamingly funny
American tourist. (Nov.)

SON OF A SAILOR— First National.— Joe E.

Brown has a weakness for gold braid and pretty girls
including Thelma Todd. Good, clean fun. (Jan.)

SON OF KONG, THE— RKO- Radio.— Helen
Mack and Robert Armstrong find the twelve-foot
offspring of fifty-foot King Kong much more friendly
than was his father. Fine photography. (March)

SONS OF THE DESERT— Hal Roach-M-G-M.
— Lodge members Laurel and Hardy have a gay time
trying to escape wives Dorothy Christy and Mae
Busch so they may attend the annual convention.
And they do. See this. (March)

S. O. S. ICEBERG— Universal.— Thrilling and
chilling adventure adrift on an iceberg; marvelous
rescue flying. (Dec.)

SPECIAL INVESTIGATOR — Universal. —
Onslow Stevens and Wynne Gibson are rounded up
as murder suspects. When things look darkest,
Wynne saves the day. Too mystifying to be easily
followed. (Jan.)

• SPITFIRE— RKO-Radio — If you like char-
acter studies at all, this splendid one of Kath-
arine Hepburn as a Kentucky mountain girl should
appeal. Ralph Bellamy, Robert Young. (April)

STAGE MOTHER— M-G-M.— Alice Brady and

Maureen O'Sullivan in an "ambitious mother and
suppressed daughter" tale; Alice Brady's great work
keeps it from being boring. (Dec.)

STRAIGHTAWAY — Columbia. — Lively mo-
ments for auto racing enthusiasts, with brothers Tim
McCoy and William Bakewell as ace drivers. Sue
Carol provides love interest. (April)

STRAWBERRY ROAN— Universal.— Ken May-
nard and Ruth Hall good; but the horses are so fine,
humans weren't needed. An exceptional Western.
(Dec.)

SWEETHEART OF SIGMA CHI, THE— Mono-
gram.— Buster Crabbe and Mary Carlisle ornament
an otherwise so-so tale of college life. (Dec.)

SYAMA — Carson Prod. — The elephant doings
here might have made a one-reel short; otherwise,
there's nothing. (Nov.)

TAKE A CHANCE — Paramount. — Tent-show
crooks James Dunn and Cliff Edwards try to build
up June Knight for Broadway. Lilian Bond and
Buddy Rogers. Excellent musical numbers. (Jan.)

TARZAN THE FEARLESS— Principal.— Buster
Crabbe doing Johnny Weissmuller stuff in a disjointed
Tarzan tale. Indifferent film fare. (Nov.)

THIS SIDE OF HEAVEN— M-G-M.— A realistic
tale — one hectic day in the life of the Turner family.
Lionel Barrymore, Fay Bainter and children emerge
no worse for the wear. (April)

TILLIE AND GUS — Paramount. — Even W. C.
Fields and Alison Skipworth couldn't make much of
this would-be comedy. (Dec.)

•TOO MUCH HARMONY — Paramount— A
zippy musical enriched by Jack Oakie, Bing
Crosby, many other A-l laugh-getters. A not of fun.
( A7 of.)

Photoplay Magazine for May, 1934

I I

TORCH SINGER— Paramount.— Claudette Col-
bert is an unmarried mother who succeeds as a singer.
Her songs are tine; Baby LeRoy. (Nov.)

TO THE LAST MAN— Paramount. — Randolph
Scott and Esther Ralston, as representatives of
feuding ex-Kentucky families, lend welcome plot
variety to tins good Western. (Dec.)

TWO ALONE— RKO-Radio.— A dull farm tale,
featuring Jean Parker asj the enslaved orphan and
Tom Brown, the boy she loves, also bound to farm
drudgery by Arthur Byron. ZaSu Pitts and Nydia
Westman. (March)

*VIVA VILLA!— M-G-M.— Action galore in
this fine portrayal of the colorful life of Villa,
Mexico's barbarous bandit, bv Wallace Beery. Good
work by Henry B. Walthall. (April)

WAFFLES — Helen Mitchell Prod.— They
shouldn't have tried making a Southern girl of Sari
Maritza. The rest of it is in keeping with this mis-
take. ( Nov.)

WALLS OF GOLD— Fox.— Sally Eilers, others,
wander dully through a dull tale about marrying for
money after a lovers' falling out. (Dec.)

WALTZ TIME — Gaumont-British. — Charming
music helps a dull, draggy story'- (Dec.)

WAY TO LOVE, THE— Paramount.— Maurice
Chevalier wants to be a Paris guide, but finds himself
sheltering gypsy Ann Dvorak in his roof-top home.
Plenty of fun then. (Dec.)

WHEELS OF DESTINY— Universal— Plenty of
action, with Indian fights, buffalo stampedes, prairie
fires and a terrific rainstorm, to say nothing of Ken
Maynard and his horse, Tarzan. Children will be
thrilled. (March)

WILD BOYS OF THE ROAD— First National —
A well-done story of youngsters who turned hoboes
during the depression. (Dec.)

WINE, WOMEN AND SONG— Monogram.— To
save her daughter (Marjorie Moore), in love with
dance director Matty Kemp, from clutches of
theatrical operator Lew Cody, Lilyan Tashman
poisons Lew and herself. Nothing new here. (Feb.)

WOMAN'S MAN, A— Monogram.— In her screen
comeback. Marguerite De La Motte causes prize-
fighter Wallace Ford some concern as to his career.
But she sets things right again after the big fight.
Fair. (March)

WOMAN UNAFRAID— Goldsmith Prod.— Suffi-
cient suspense in this tale of female detective Lucille
Gleason, who defies perils of gangdom. Lona Andre,
"Skeets" Gallagher. (April)

WOMAN WHO DARED, THE— Wm. Berke
Prod. — Assisted by reporter Monroe Owsley,
Claudia Dell manages to outwit gangsters who
threaten to bomb her textile plant. Good cast; fair
story. (Feb.)

WOMEN IN HIS LIFE, THE— M-G-M— A very
melodramatic tale about a lawyer (Otto Kruger) who
finds himself in the odd position of defending the
man who has murdered the woman he (Kruger)
loved. Una Merkel, Roscoe Karns provide comedy
relief. Ben Lyon is young love interest. (Feb.)

• WONDER BAR— First National.— Al Jolson,
Dick Powell, Dolores Del Rio and Ricardo
Cortez furnish gay, sophisticated entertainment at
the Wonder Bar Cafe. And Kay Francis does well
with a small role. (April)

WORST WOMAN IN PARIS?, THE— Fox.—

Adolphe Menjou, Benita Hume, Harvey Stephens, in
a mild tale about a misunderstood woman. (Dec.)

YOU CAN'T BUY EVERYTHING— M-G-M —

Excellent characterization by May Robson as schem-
ing old woman who has devoted her life to pursuit of
gold. William Bakewell, Lewis Stone, Jean Parker
do fine work.. (April)

YOU MADE ME LOVE YOU— Majestic Pictures.
—In this swift-paced English farce we see a new
Thelma Todd. The "Taming of the Shrew'' idea,
with Stanley Lupino adding much to the film. (Feb.)

Now! Remove Blackheads
In a Single Treatment!

MAIL COUPON FOR FREE TUBE

Edna Wallace Hopper, "The One Woman
in the World Who Never Grew Old,"
discloses another of her startling youth
revelations.

So many young women have asked me
how to get rid of blackheads and reduce
large pores.

My answer is, "Purge the pores."

Use a laxative on your skin just as you
would a laxative on your system. I know
most of you didn't know you could do this.
That you're surprised such a thing can be
done. But it can. And very simply and
quickly. Often in a single treatment.

What you use to do it is White Youth
Pack. A preparation I found out about
years ago in Paris. Let me send you a
tube free.

I never let a week go by without using
it myself. Once every week I purge my
pores. I wish you could look at my skin
and see the result. There's not a line, not
a blemish on my face. My skin's as young,
as fresh as it was when I was 16.

I brought the formula of White Youth
Pack back from Paris. I had my name
nut on it so you'd know you were getting
the same thing I use. It is called Edna
Wallace Mower's White Youth Pack or
Clay. The one made from the original
French formula that does away with
blackheads and large pores, in a single
treatment.

You can get it at any drug or depart-
ment store. Or mail coupon for tube Free
to try. The whole treatment takes only a
few minutes' time. Full directions come
with every tube.

Edna Wallace Hopper

AIL FOR FREE TUBE

j Edna Wallace Hopper P-5 I

| 4316 North Kilpatrick Ave., Chicago, 111. J

I Send me free supply of

your White Youth Pack.

Name

Address

City

State

-J

TYPEWRITER Bargains

Genuine Underwooda. Roymla. etc., refiniehed $100 office models
greatly reduced to shoot 1 /3mfe's owr'I price. 10 day trial — fully
guaranteed — easy terms — 10c a day. Free catalog. Limited enpply.
_ _ _ 231 W. Monroe St.

International Typewriter Exch.( Dept. 552 Chicaso

Lustrous Color for

FADED
HAIR

(Test Bottle \
freeJ

Have ever-youthful looking hair this
SAFE way. Clear liquid is combed through
hair. Gray goes — streaks disappear. Color
wanted comes: black, brown, auburn,
blonde. Nothing to wash or rub off on
clothing. Hair stays fluffy — takes wave or
curl. Get full-sized bottle from druggist on
money-back guarantee. Or mail coupon for
Free Test.

FREE TEST~We send complete Test
Package Free. Snip off a lock of hair. Test it first
this safe way. No risk. No expense. 3,000,000
women have received this test. Mail coupon.

r— MARY T.GOLDMAN- — .

2422 Goldman Bldg., St. Paul, Minn.

Name I

Street ■

City State;3s |

Color of your hair? *

^ Graduates: Lee Tracy, Peeey Shannon. Fred Astaire, L'na Merkel, Zita

i: Lee Tracy, Peeey Sh
___. Mary Pickford. etc. Dn .
Opera, Personal Development. Cultun
a-icea while learnine For cataloz,

85th St., N. Y.

I red Astaire, Una Merkel, Zita
i. Speech, Musical Comedy,
k i h^atre Training appear.
Sec \ ERWIN, 66 West

Women!

End Worry and
Uncertainty

PAIR°I)»0»€EN

Feminine Hygiene Tablets

PAR-I-O-GEN is a tested, scientificformula, which provides
safe, convenient, immediate hygienic protection Women
everywhere have been quick to recognize and accept it as a
welcome innovation in acquiring antiseptic cleanliness.

NO WATER REQUIRED

PAR-I-O-GEN tablets dissolve in the natural secretiona
forming a strong chlorine solution which destroys gcnr.s in a
few moments. Yet, unlike poisonous, burning acid solutions,
they are soothing and harrrless to the most delicate tissues.
No water or other accessories are needed. Odorless, stainless,
greaseless.

Send for Trial Box! So you may try this modern feminine
necessity, we offer a special trial box of WRITE FOR
five tablets, conveniently packaged for
travel or home use, with FREE booklet
on their need and use, for only
fifty cents (stamps or coin),
postpaid. Try them once and/
you will never be without them.

American Drug and Chemical C
420 So. 6th St., Minneapolis, M:_ .
I enclose 50c for a trial box of five
PAR-I-O-GEM tablets with instructiona,
in plain wrapper.

Name.. .
Address .

120

Photoplay Magazine for May, 1934

LOS ANGELES

71,.

TOWN
HOUSE

INVITES INQUIRIES FROM
THOSE PLANNING A TRIP
TO SOUTHERN CALIFORNIA

WERNER HARTMAN MANAGER

THE SMART HOTEL OF
SOUTHERN CALIFORNIA

Cltumyi Clttbact

The women you most admire, and perhaps
envy, prize their beauty and guard it. Their
lustrous eyes and clear skin are the result of
daily care. Above all else, these women keep
their blood free of the poisons of constipation.
Thousands of such women find Dr. Edwards
Olive Tablets a matchless corrective. Made
of pure vegetable ingredients. Know them
by their olive color. They are a safe substi-
tute for dangerous calomel. Not habit-
forming. All druggists, 15c, 30c and 60c,

SKINNY?

Gain weight. Help fill out hollow chest, limbs, arms,
neck and bast. Get new pep, improve appetite, help
overcome constipation. If you are the average normal
person don't allow yourself to be embarrassed, laughed at,
neglected. Results or no cost. Send for FREE TRIAL
portion. Your request for Free Trial brings trial supply
Tadex Tablets by return mail and complete S2.00 com-
bination method which you may try under a 15 day
refund guarantee. Try TADEX METHOD at our risk.
TADEX CO. ,857-T Hamilton Terrace, Baltimore, Md.

Casts of Current Photoplays

Complete for every picture reviewed in this issue

?50aWEEKatHOME!

Ij^V Experience unnece-sary. Grow year
'round in basement , cellar, garage, idle places.
We buy crop. FREE BOOK.

431-KR N. Clark St.

MUSHROOM GROWERS ASSOCIATION

Chicago. Illinois

"ALWAYS A GENT " — Warners.— From the
story by Laird Doyle and Ray Nazarro. Screen play
by Bertram Milhauser. Directed by Michael Curtiz.
The cast: Jimmy Corrigan, James Cagney; Joan,
Bette Davis; Mabel, Alice White; Louie, Allen
Jenkins; Joe Rector, Arthur Hohl; Ronnie, Phillip
Reed; Hendrickson, Ralf Harolde; Walsingham, Alan
Dinehart; Posy, Nora Lane; Gladys, Mayo Methot.

"BEDSIDE" — First National. — From the story
by Manuel Seff and Harvey Thew. Screen play by
Lillie Hayward and James Wharton. Directed by
Robert Florey. The cast: Louis, Warren William;
Caroline, Jean Muir; Sparks, Allen Jenkins; Smith,
David Landau; Maritza, Kathryn Sergava; Dr.
Chester, Henry O'Neill; Wiley, Donald Meek;
Versova, Renee Whitney; Dr. Michael, Walter
Walker; Internes, Phillip Reed, Philip Faversham;
Joe, Earle Foxe.

"BEGGARS IN ERMINE" — Monogram. —
From the novel by Esther Lynd Day. Adapted by
Tristram Tupper. Directed by Phil Rosen. The
cast: John Dawson, Lionel A twill; Merchant, Henry
B. Walthall; Joyce, Betty Furness; James Marley,
Jameson Thomas; Lee Marley, James Bush; Vivian,
Astrid Allwyn; Joe Wilson, George Hayes; Scott
Taggarl, Stephen Gross; Enright, Sam Godfrey; Joe
Swanson, Lee Phelps; Mike the Mute, Clinton Lyle;
Davis, Sidney deGray; Joyce (child), Gayle Kaye;
Nurse, Myrtle Stedman; Police Captain, Gordon
DeMaine.

"BOTTOMS UP"— Fox. — From the story by B.
G. DeSylva, David Butler and Sid Silvers. Directed
by David Butler. The cast: "Smoothie" King,
Spencer Tracy; Hal Reede, John Boles; Wanda Gale,
Pat Paterson; "Limey" Brock, Herbert Mundin;
"Spud" Mosco, Sid Silvers; Louis Wolf, Harry Green;
Judith Marlowe, Thelma Todd; Detective Rooney,
Robert Emmett O'Connor; Lane Worthing, Dell Hen-
derson; Secretary, Suzanne Kaaren; Baldwin, Douglas
Wood.

"COME ON MARINES"— Paramount.— From
the story by Philip Wylie. Screen' play by Byron
Morgan and Joel Sayre. Directed by Henry Hath-
away. The cast: Lucky Davis, Richard Arlen; Esther
Cabot, Ida Lupino; Spud McGurke, Roscoe Karns; Jo
Jo LaVerne, Grace Bradley; Susie Raybourne, Vir-
ginia Hammond; Kalherinr, Gwenllian Gill; Shirley,
Clara Lou Sheridan; Dolly, Toby Wing; Wimpy,
Fuzzy Knight; Lorclla, Lona Andre.

"COUNTESS OF MONTE CRISTO"— Univer-
sal.— -From the story by Walter Fleisher. Screen
play by Karen de Wolf. Directed by Karl Freund.
The cast: Janet, Fay Wray; Rumowski, Paul Lukas;
The Baron, Reginald Owen; Mimt, Patsy Kelly;
Stefan, Paul Page; Sterner, John Sheehan; Flcnuer
Girl, Carmel Myers; Hotel Manager, Robert McWade;
Police Commissioner, Frank Reichcr; Picture Director,
Richard Tucker; Rumatvski's Valel, Mathew Betz;
Hotel Valel, Bobby Watson; Proprietor of Exchange,
Dewey Robinson; Stefan's Friend, A. S. Byron; News-
paper Editor, Harvey Clark.

"CRIME DOCTOR, THE" — RKO-Radio. —
From the novel, "The Big Bow Mystery," by Israel
Zangwill. Directed by John Robertson. The cast:
Dan Gilford, Otto Kruger; Andra, Karen Morley;
Gary Patten, Nils Asther; Blanch Flynn, Judith Wood.

"DAVID HARUM" — Fox. — From the novel by
Edward Noyes Westcott. Screen play by Walter
Woods. Directed by James Cruze. The cast: David
II arum. Will Rogers; Polly, Louise Dresser; Ann,
Evelyn Venable; John, Kent Taylor; Sylvester, Stepin
Fetchit; Wcolsey, Noah Beery; Edwards, Roger
Imhof; Elwin, Frank Melton; Deacon, Charles Mid-
dleton; Widow, Sarah Padden; Sairy, Lillian Stuart.

"FEROCIOUS PAL" — Principal Pictures. —
From the story by Joseph Anthony Roach. Directed
by Spencer Gordon Bennet. The cast: Kazan,
Kazan; Doctor Elliott, Robert Manning; Patricia,
Ruth Sullivan; Dave Brownell, Tom London; Johnnie
Diggens, Gene Toler; Sheriff, Harry Dunkinson; Eb
Boliver, Henry Roquemore; Charlie, Nelson Mc-
Dowell; Sykes, Ed Cecil; Martha, Grace Wood;
Champo, Prince.

"FOUND ALIVE" — Ideal Pictures. — From the
story by Captain Jacob Conn. Directed by Charles
Hutchison. The cast: Mrs. Roberts, Barbara Bed-
ford; Bobby Roberts, Maurice Murphy; Mr. Robots,
Robert Frazer; Brooks, Harry Griffith.

"GAMBLING LADY "—Warners.— From the
story by Doris Malloy. Screen play by Ralph Block
and Doris Malloy. Directed by Archie Mayo. The
cast: Lady Lee, Barbara Stanwyck; Garry Madison,
Joel McCrea; Charlie Lang, Pat O'Brien; Sheila
Aiken, Claire Dodd; Peter Madison, C. Aubrey
Smith; Fallin, Arthur Vinton; Don, Philip Favers-
ham; Cornelius, Ferdinand Gottschalk; Mike Lee,
Robert Barrat; Graves, Robert Elliott; Steve, Phillip
Reed; Pryor, Arthur Treacher.

"GEORGE WHITE'S SCANDALS"— Fox —
From the story by George White. Directed by
George White. The cast: Jimmy Mai tin, Rudy

Vallee; Happy McGillicuddy, Jimmy Durante; Kilty
Donnelly, Alice Faye; Barbara Loraine, Adrienne
Ames; Nicholas Milwoch, Gregory Ratoff; Stew Hart,
Cliff Edwards; Patsy Dey, Dixie Dunbar; Miss Lee,
Gertrude Michael; Minister, Richard Carle; Pete
Pandos, Warren Hymer; Al Burke, Tom Jackson;
Count Dekker, Armand Kaliz; "Sailor" Brown, Roger
Gray; Harold Bestry, William Bailey; John R.
Loraine, George Irving; Judge O'Neill, Ed Le Saint;
Specially Beauties, Eunice Coleman, Martha Merrill,
Lois Eckhart, Hilda Knight, Peggy Mosley, Lucille
Walker; Eleanor Sawyer, Edna May Jones; The
Meglin Kiddies.

"HAROLD TEEN" — Warners. — From the
comic strip by Carl Ed. Screen play by Paul Gerard
Smith and Al Colin. Directed by Murray Roth.
The cast: Harold Teen, Hal LeRoy; Lillums, Rochelle
Hudson; Minn, Patricia Ellis; Ralhburn, Hugh Her-
bert; Pop, Hobart Cavanaugh; Snatcher, Doug
Dumbrille; Shadow, Eddie Tamblyn; Lilacs, Chic
Chandler; Pa Lovewell, Guy Kibbee; Ma Lovewell,
Clara Blandick; Sally, Mayo Methot; Parmalee,
Richard Carle; McKinney, Charles Wilson.

"HEAT LIGHTNING"— Warners.— From the
original play by Leon Abrams and George Abbott.
Screen play by Brown Holmes and Warren Duff.
Directed by Mervyn LeRoy. The cast: Olga, Aline
MacMahon; Myra, Ann Dvorak; Jeff, Lyle Talbot;
Mrs. Tiflon, Glenda Farrell; Frank, Frank McHugh;
George, Preston Foster; Steve, Theodore Newton;
Husband, Edgar Kennedy; Wife, Jane Darwell; Mrs.
Ashton-Asliley, Ruth Donnelly; Everett, Willard
Robertson; Business Man, Harry C. Bradley; Blonde
Cutie, Muriel Evans; Sheriff, James Durkin.

"HONOR OF THE WEST"— Universal.— From
the story by Nate Gatzert. Directed by Alan James.
The cast: Ken, Ken Maynard; Clem, Ken Maynard;
Mary, Cecilia Parker; Rawhide, Fred Kohler; Boots,
Frank Hagney; Rocky, Jack Rockwell; Turner, James
Marcus; Smoky, Al Smith; Charlie, Eddie Barnes;
Pete, Slim Whittaker; Saloonkeeper, Franklin Farnum;
Tarzan, Tarzan.

" HOUSE OF ROTHSCHILD, THE"— 20th Cen-
tury-United Artists. — From the play by George
Hembert Westley. Screen play by Nunnally John-
son. Directed by Alfred Werker. The cast: Maier
Rothschild, George Arliss; Nathan Rothschild, George
Arliss; Lediantz, Boris Karloff; Julie Rothschild,
Loretta Young; Lt. Col. Filzroy, Robert Young;
Wellington, C. Aubrey Smith; Herries, Reginald
Owen; Metternich, Alan Mowbray; James, Murray
Kinnell; Solomon, Paul Harvey; Carl, Noel Madison;
Wife, Florence Arliss; Amschel, Ivan Simpson; Gudula
Rothschild, Helen Westley; Rowerth, Holmes Herbert;
Baring, Arthur Byron; Talleyrand, Georges Rena-
vent; Prime Minister, Gilbert Emery; Tax Collector,
Leonard Mudie; Nesserolde, Charles Evans.

"I BELIEVED IN YOU "—Fox.— From an idea
by William Anthony McGuire. Screen play by
William Conselman. Directed by Irving Cummings.
The cast: True Merrill, Rosemary Ames; Jim Croxd,
\ 1'ctor Jory; Michael Harrison, John Boles; Pamela
Banks, Gertrude Michael; Saracen Jones, George
Meeker; Russell Storm, Leslie Fenton; Vavara, Joy-
zelle; Joe, Jed Prouty; Oliver, Morgan Wallace;
Giacomo, Luis Alberni.

"INTRUDER, THE" — Allied. — From the
screen play by Frances Hyland. Directed by Albert
Ray. The cast: Jack Brandt, Monte Blue; Connie
Wayne, Lila Lee; Daisy, Gwen Lee; Reggie Wayne,
Arthur Housman.

"JOURNAL OF A CRIME"— First National.—
From the play by Jacques Deval. Screen play by F.
Hugh Herbert. Directed by William Keighley. The
cast: Francoise, Ruth Chatterton; Paul, Adolphe
Menjou; Chaulard, George Barbier; Eddie, Phillip
Reed; Simone, Claire Dodd; Doctor, Henry O'Neill;
Rigaud, Edward McWade; Winterstein, Frank
Reicher; Henri, Henry Kolker; Maid, Leila Bennett;
Costelli, Noel Madison; Stage Manager, Frank Darien;
Victor, Olaf Hytten; Florenstan, Walter Pidgeon;
Inspector, Clay Clement; Germaine Cartier, Douglas
Dumbrille.

"LAZY RIVER"— M-G-M— From the story by
Lea David Freeman. Screen play by Lucien Hub-
bard. Directed by George B. Seitz. The cast: Sarah,
Jean Parker; Bill, Robert Young; Sam Kee, C. Henry
Gordon; Gabby, Ted Healy; Tiny, Nat Pendleton;
Ruby, Ruth Channing; Miss Minnie, Maude Eburne;
Captain Orkney, Raymond Hatton; Suzanne, Irene
Franklin; Ambrose, Joseph Cawthorn; Sheriff, Erville
Anderson; Armand, George Lewis.

"LET'S BE RITZY"— Universal.— From the
stage play by William Anthony McGuire. Screen
play by Harry Sauber and Earle Snell. Directed by
Edward Ludwig. The cast: Jimmie, Lew Ayres;
Ruth, Patricia Ellis; Belly, Isabel Jewell; Bill Damroy,
Frank McHugh; Pembrook, Berton Churchill;
Splevin, Robert McWade; Mrs. Burton, Hedda

RECOGNIZED LEADER
FROM COAST TO COAST

SAVOY- PLAZA ... a name that is
synonymous with luxurious living
...majestic and impressive with
the 840 acres of Central Park at
its doors... a setting one hardly
hopes for in the towering city of
stone and steel. To the travelled
person, it is vividly evident that
here, truly, is one of the world's
most distinguished hotels.

CELEBRITIES CHOOSE
THE SAVOY-PLAZA

From Hollywood come celebrities
of the motion picture world to
New York and the Savoy- Plaza.
This outstanding hotel has acted
as host to many of the best known
producers, executives and stars.
SINGLE ROOMS FROM $5

Henry A. Rost, Managing Director

FIFTH AVENUE

58th to 59th STREETS, NEW YORK

The powder-puff of a pup bears the

name, Roger MacGillicuddy, no less,

and his mistress is Irene Franklin,

in M-G-M's "Lazy River"

Photoplay Magazine for May, 1934

Hopper; Lieut. Spalding, Addison Richards; Henry,
Adrian Morris; Mr s. Pembrook, Betty Lawford; Mr.
llihirelh. Clay Clement.

"LONG LOST FATHER"— RKO- Radio— From
the novel by G. B. Stern. Screen play by Dwight
Taylor. Directed by Ernest B. Schoedsack. The
cast; Carl Bellairs, John Barrymore; Lindsey Lane,
Helen Chandler; Bill Strong, Donald Cook; Tony
del, ling, Alan Mowbray; Lord Vivyan, Reginald Shar-
land; Lawyer, Ferdinand Gottschalk; Phylis Mersey-
Royds, Phyllis Barry; Flower Woman, Tempe Pigott;
Bishop, Herbert Bunston.

"MIDNIGHT"— Universal.— From the play by
Paul and Claire Siston. Directed by Chester Erskin.
The cast: Stella Weldon, Sidney Fox; Edward Weldon,
O. P. Heggie; Nolan, Henry Hull; Mrs. Weldon, Mar-
garet Wycherly; Joe Bigger s, Lynn Overman; Ada
Biggers, Katherine Wilson; Arthur Weldon, Richard
Whorf; Gar Boni, Humphrey Bogart; Henry Mc-
Grath, Granville Bates; Elizabeth McGralh, Cora
Witherspoon; District Attorney Plunkett, Moffat John-
son; Ingersoll, Henry O'Neill; Ethel Saxlon, Helen
Flint.

"MYSTERY OF MR. X"— M-G-M— From the
novel "Mystery of the Dead Police" by Philip Mac-
Donald. Screen play by Howard Emmett Rogers.
Directed by Edgar Selwyn. The cast: Revel, Robert
Montgomery; Jane, Elizabeth Allan; Connor, Lewis
Stone; Marche, Ralph Forbes; Frensham, Henry
Stephenson; Palmer, Forrester Harvey; Hutchinson,
Ivan Simpson; Mr. X, Leonard Mudie; Judge Malpas,
Alec B. Francis; Willis, Charles Irwin.

"NINTH GUEST, THE"— Columbia.— From
the play by Owen Davis. Screen play by Garnett
Weston. Directed by Roy William Neill. The cast:
Jim Daley, Donald Cook; Jean Trent, Genevieve
Tobin; Henry Abbott, Hardie Albright; Tim Cronin,
Edward Ellis; Jason Osgood, Edwin Maxwell; Assist-
ant Butler, Vincent Barnett; Sylvia Inglesby, Helen
Flint; Dr. Murray Reid, Samuel S. Hinds; Margaret
Chisholm, Nella Walker; Butler, Sidney Bracey.

"NO GREATER GLORY"— Columbia.— From
the story by Ferenc Molnar. Screen play by Jo
Swerling. Directed by Frank Borzage. The cast:
Nemecsek, George Breakston; Boka, Jimmy Butler;
Gereb, Jackie Searl; Feri Ats, Frankie Darro;
Csonakos, Donald Haines; Ferdie Pasztor, Rolf
Ernest; Henry Pasztor, Julius Molnar; Kolnay,
Wesley Giraud; Csele, Beaudine Anderson; Richler,
Bruce Line; Gereb's Father, Samuel Hinds; Watch-
man, Christian Rub; Father, Ralph Morgan; Mother,
Lois Wilson; Racz, Egon Brecher; Doctor, Frank
Reicher; Janitor, Tom Ricketts.

"NO FUNNY BUSINESS"— Ferrone Produc-
tions.— From the story by Dorothy Hope. Directed
by John Stafford and Victor Hanbury. The cast:
Yvonne Kane, Gertrude Lawrence; Clive Dering,
Laurence Olivier; Ann Moore, Jill Esmond; Monsieur
Florey, Gibb McLaughlin; Mrs. Fothergill, Muriel
Aked; Edmund, Edmund Breon.

"REGISTERED NURSE"— Warners. — From
the play by Wilton Lackaye and Florence Johns.
Screen play by Lillie Hayward and Peter Milne,
Directed by Robert Florey. The cast: Sylvia Benton.
Bebe Daniels; Dr. Connolly, Lyle Talbot; Gloria
Hammond, Dorothy Burgess; Dr. Hedwig, John

I 21

No W...

MARCHAND'S

CASTILE SHAMPOO

NEW... WHY?

IT'S NEW — and that's news — great news for
■ millions of women — and men —

and here's WHY

When the hair is washed with ordinary bar
soaps or inferior shampoos — tiny particles of
soap stick to the hair, despite repeated rins-
ings. The soap particles contain alkali which
has a harsh effect on hair and scalp. If this is
continued hair will become dull and lifeless —
scalp will become dry and dandruffy.
Now — after 30 years of experience in the care
of the hair — Marchand's experts have de-
veloped a Castile Shampoo that RINSES
COMPLETELY.

Think what that means — no soap particles, no
alkali, no harsh effect on hair or scalp! Little
wonder Marchand's new Castile Shampoo
leaves the hair so exquisitely, so lustrously
beautiful.

A Scientific Beauty Treatment

To shampoo with Marchand's is to give hair
a scientific beauty treatment. Marchand's thick
creamy lather cleanses gently and thoroughly.
It is made from the highest quality olive oil —
thus it beautifies the hair, benefits the scalp,
and helps retard dandruff. Hair is left soft
and fluffy — easy to comb — perfect for waving
or curling and no undesirable scents or odors
cling to it.

Best for children's tender scalps and for men
with dandruff. Low price — and the quality in
it makes a little go a long way. 35c at drug-
gists.

ASK YOUR DRUGGIST OR GET BY MAIL
Send 35c (coins cr stamps) to C. Marchand
Co.. 251 W. 19th St., N. Y. C., for regular
size bottle.

C. MARCHAND
35c enclosed— Pl<

CO.. 251 W. 19th St.. N. Y.
ase send me your .shampoo

Citv

122

(«1I1I|) IS NOT CAMP
WITHOUT A Boat

An Old Town Boat adds a lot to vaca-
tion at a very low cost. There are
models for every vacation need. Small,
fast open-boats for fishing, outings or
"trips to town." Large, all-wood, sea-
worthy craft for family use.

Old Town Boats are rugged and leak-
proof. Perfectly balanced and reinforced
to withstand all weights of motors.
Speedy. Responsive. Send for a free
catalog showing models and prices. Also
dinghies, rowboats and all types of
canoes. Write today. Old Town Canoe
Co., 525 Main Street, Old Town, Maine.

Old Town Boats"

Remove Superfluous Hair

yUvetltUUen

V«UA^1U»MyV«l

Dl leaves the skin Like velvet

Photoplay Magazine for May, 1934

Halliday; Jim Benton, Gordon Westcott; Sadie
Harris, Irene Franklin; McKenna, Head Nurse,
Beulah Bondi; Ethel, Renee Whitney; Dixie, Virginia
Sale; Schloss, Minna Gombell; Male Nurse, Milt
Kibbee; Jimmy Sylvestry, Sidney Toler; Jerry, Fuzzy
Knight.

"RIPTIDE"— M-G-M.— From the original screen
story by Edmund Goulding. Directed by Edmund
Goulding. The cast: Mary, Norma Shearer; Tommie,
Robert Montgomery; Lord Rexford, Herbert Mar-
shall; Aunt Hetty, Mrs. Patrick Campbell; Erskme,
Skeets Gallagher; Fenwick, Ralph Forbes; Sylvia,
Lilyan Tashman; Percy, Arthur Jarrett; Freddie, Earl
Oxford; Celeste, Helen Jerome Eddy; Bertie, George
K. Arthur; Pamela, Baby Marilyn Spinnert; Nurse,
Phyllis Cochlan; Ransome, Howard Chaldecott;
Bollard, Halliwell Hobbes.

"SHADOWS OF SING SING"— Columbia.—
From the story by Katherine Scola and Doris Malloy.
Screen play by Albert DeMond. Directed by Phil
Rosen. The cast: Muriel, Mary Brian; Bob Martel,
Bruce Cabot; Joe Martel, Grant Mitchell; Rossi,
Harry Woods; Angela, Claire Du Brey; Slick, Bradley
Page; Highbrow, Irving Bacon; Dumpy, Dewey
Robinson; Murphy, Fred Kelsey.

"SHE MADE HER BED"— Paramount.— From
the story "Baby in the Ice-Box" by James M. Cain.
Screen play by Casey Robinson and Frank R. Adams.
Directed by Ralph Murphy. The cast: Wild Bill
Smith, Richard Arlen; Lura Gordon, Sally Eilers;
Duke Gordon, Robert Armstrong; Eve Richards, Grace
Bradley; Santa Fe, Rosco Ates; Joe Olsen, Charley
Grapewin; Ron, Richard Arlen, Jr.

"SHOW-OFF, THE"— M-G-M.— From the play
by George Kelly. Screen play by Herman J. Mankie-
wicz. Directed by Charles F. Riesner. The cast:
Aubrey Piper, Spencer Tracy; Amy, Madge Evans;
Jo, Henry Wadsworth; Clara, Lois Wilson; Pa Fisher,
Grant Mitchell; Ma Fisher, Clara Blandick; Frank,
Alan Edwards; J. B. Preston, Claude Gillingwater.

"SING AND LIKE IT"— RKO- Radio.— From

story "So You Won't Sing. Eh?" by Aben Kandel.
Screen play by Marion Dix and Laird Doyle. Directed
by William Seiter. The cast: Annie Snodgrass, ZaSu
Pitts; Ruby, Pert Kelton; Adam Frank, Edward
Everett Horton; Fenny, Nat Pendleton; Tools, Ned
Sparks; Ambercrombie, Richard Carle; Oswald, John
M. Qualen; Junker, Matt McHugh; Butch, Stanley

35c, 3 for $I.OO

| If your dealer does not have

Velvet Mittens, order from

VELVET MITTEN COMPANY

1037 S. Los Angeles St., Los Angelas, Calif.

DR. WALTER'S

flesh colored gum rubber garments

LATEST BRASSIERE. 2 to 3 inch com-
pression at once. Gives a trim, youthful
new style figure. Send bust measure. .52. 25
REDUCING GIRDLE. 2 to 3 inch com-
pression at once. Takes place of corset.
Beautifully made; very comfortable. Laced
at back, with 2 garters in front. Holds up
abdomen. Send waist and hip meas-
ure 53.75

Write for literature. Send check or
money order — no cash. ,

DR.JEANNE P.H.WALTER, 389 Fifth Ave., N.Y.

YOU WANT CLASS PINS-we have them—
any letters, any year, any colors. Silver
plated, 1 to 11, 35c ea; gold plated, 45c ea;
sterling, 50c ea. Silver plated, 12 or more,
30c ea; gold plated, 40c ea; sterling, 45c e
Sterling silver rings as shown, 1 or more,
$1.50 ea. Write For Free Catalogue.'

I MetaWrtsCo.Jnc. Factory 58 Rochesler.N.Y.

G RAY

FADED

HAIR

Men, women, girls with gray, faded, streaked hair. Shampoo
and color your hair at the same time with new French dis-
covery "Sharnpo- Ko'lor," takes few minutes, leaves hair
soft, glossy, natural. Does not rub off. Free Booklet.
Monsieur L. P. Valligny, Dept.43, 254 W.3lst. St., N.Y.

Fields; Gunner, Joseph Sauers; Webster, William H.
Griffith; Mrs. Fishbeck, Grace Hayle; Gregory, Roy
D'Arcy.

"SPEED WINGS"— CoLUMBfA.— From the story
by Horace McCoy. Directed by Otto Brower. The
cast: Tim, Tim McCoy; Mary, Evalyn Knapp; Jerry,
Billy Bakewell; Mickey, Vincent Sherman; Crandall,
Hooper Atchley; Gregory, Ben Hewlett; Haley, Jack
Long.

"SUCCESS AT ANY PRICE'*— RKO-Radio.—
From the play "Success Story" by John Howard
Lawson. Screen play by John Howard Lawsonand
Howard J. Green. Directed by J. Walter Ruben.
The cast: Joe, Douglas Fairbanks, Jr.; Agnes, Gene-
vieve Tobin; Merrill, Frank Morgan; Sarah, Colleen
Moore; Fisher, Edward Everett Horton; Dinah,
Nydia Westman; Jeffery, Allen Vincent; Hatfield,
Henry Kolker.

"TAKE THE STAND"— Liberty.— From the
story "Deuce of Hearts" by Earl Derr Biggers.
Screen play by Albert Du Mond. Directed by Phil
Rosen. The cast: George Gaylord, Jack LaRue; Sally
Oxford, Thelma Todd; Cornelia Burbank, Gail
Patrick; Bill Hamilton, Russell Hopton; John Bur-
bank, Berton Churchill; Hugh Halliburton, Leslie
Fenton; Pearl Reynolds, Sheila Terry; Tony Steica,
Vince Barnett; O'Brien, Paul Hurst; Braden, DeWitt
Jennings; Paddock, Bradley Page; Reynolds, Jason
Robards; Dale, Arnold Gray; Carr, Edward Kane.

"THIS MAN IS MINE"— RKO-Radio.— From

the play"Love Flies in the Window"by Anne Morri-
son Chapin. Screen play by Jane Murfin. Directed
by John Cromwell. The cast: Tony Dunlap, Irene
Dunne; Fran Harper, Constance Cummings; Jim
Dunlap, Ralph Bellamy; Bee McCrea, Kay Johnson;
Jud McCrea, Charles Starrett; Mori Holmes, Sidney
Blackmer; Rita, Vivian Tobin; Slim, Louis Mason.

"WHARF ANGEL"— Paramount— From the
story "The Man Who Broke His Heart" by Frederick
Schlick. Screen play by Samuel Hoffenstein.
Directed by William Cameron Menzies and George
Somnes. The cast: Turk, Victor McLaglen; Toy,
Dorothy Dell; Como, Preston Foster; Mother Bright,
Alison Skipworth; Moore, David Landau; Goliath,
John Rogers; Sadik, Mischa Auer; Brooklyn Jack,
James Burke; Steve, Alfred Delcambre; The Captain,
Frank Sheridan; Slim, Don Wilson; Vasil, John
Northpole; Dick, Max Wagner.

Beauty Pursues Earl Carroll

[ CONTINUED FROM PAGE 37

"Is he young and good looking?" In Pitts-
burgh they decided to throw a party in their
private car for the press. Someone suggested
that a certain beauty give the boys a toast.
Nervous, but still game and not quite sure
what it was all about, the girl raised her glass
(only wine, mind you) and with a sweet smile
said:

"Roses are red, violets are blue,
My mother owns a horse. Hello!"
All of which threw the reporters into a state
of something not even normal, and resulted in
all of them having to be led from the train.

"DETWEEN trains at Chicago they stopped at
■^a hotel. Over and over they were warned not
to open their door to any man.

"Send him down the hall to us," Mr.
Carroll's business manager told them.

And then came a knock on the door and
before they could answer it, in walked a gentle-
man saying, "I want to see Mr. Carroll." "He
isn't here," one of the beauties chirped. "I'll
wait," he said, sitting down and making him-
self at home. Whereupon the girls ran to the
chaperon, who promptly said, "Expel the
gentleman, girls." And the girls, good, obe-
dient, little creatures that they are, grabbed the
gentleman by the seat of his trousers, gave a
one, two, three, and the amazed gentleman
landed on his amazed trousers seat in an
equally astonished hall.

An hour later they discovered they had
actually thrown out a prominent Paramount
official who had come to Chicago expressly to
see Mr. Carroll, and never did.

"Now these are grand New York show

girls," Hollywood reasoned, "and we've got to
give them all the things they're used to. We
want them to be happy." So, when the train
pulled in, several important officials met them
and handed out the good news.

"Just whatever you girls want now for your
comfort and happiness," they said, and a night-
marish vision of sables, limousines and stucco
mansions floated through their heads.

"Thank you," beamed the girls. "There is
something we'd like very much."

"What is it?" they asked.

"A kitchenette," the girls screamed in uni-
son. And so the little "Vanities" cook their
own little meals in their own little kitchenette
and love it.

•"THE life of a "Carroll Cutie"in Hollywood
is just one hilarious round of excitement.
No wonder all these girls are chasing Mr. Carroll
silly to join in the fun. For instance, at six
o'clock of a cold, damp morning, the little girls
must arise from their little beds and get ready
for work. Cooking their own coffee, making
their own toast.

At 7:30, for no reason at all, they must
climb into a huge tally-ho drawn by six horses
and they're off. To the studio. Why the tally-
ho, no one has ever quite found out.

Evidently someone, some place, thought of
it, for there it is.

All day long they parade before a movie
camera and at six o'clock repair to their little
kitchenettes, where they cook their own little
dinners and then crawl into their own little
beds.

Thrilling, isn't it? Especially the getting in

Photoplay Magazine for May, 1934

and out of the tally-ho a couple of times a day.
Days they aren't working they must report
every absence to the chaperon. If they go to a
beauty parlor, a note saying where and when
and who won the World War must be left. And
heaven help the girl who isn't back when she
promised. And no phoning down to the dining-
room for an extra snack by the girls who are on
a diet.

Mrs. Rooney has already told the chef one
or two things about that little matter.

Then, of course, there are the uniforms.
They must each wear yellow turtle-neck sweat-
ers and blue slacks. And evidently each girl
has won her letter, for across each sweater are
the letters " E. C. V." For Earl Carroll "Vani-
ties," of course.

A XD then came the day a dozen or so colored
■*^girls were needed for a picture and then,
getting an eyeful of the "Vanities" cuties,
appeared the next day on the lot also in yellow
turtle-neck sweaters and blue slacks. And
strangely enough, the letters E. C. V. ap-
peared across their bosoms.

"Here," someone said, "you're not Earl
Carroll 'Vanities' girls. How come the
E. C. V.?"

"Oh, that's not for Earl Carroll 'Vanities,' "
one high-yellow baby said. " That means
'Each a Colored Virgin.' "

So they just let it rest at that. After all.

Over the Paramount gate was hung the sign,
"Thru This Door Pass The Most Beautiful
Girls In The World." And all the photograph-
ers from newspapers and magazines were sum-
moned to shoot the most beautiful girls in the
world (the Carroll "Vanities") passing through
the door. Cameras were all set, lights ready,
when suddenly, arm-in-arm, out passed Polly
Moran and Alison Skipworth, and somehow
the whole matter was just quietly dropped.

Two of the girls, being under eighteen, must
go to school on the lot, each day. And it's
"Columbus crossed the ocean blue in Fourteen-
hundred-and-ninety-two, with a hi de hi de ho
and a hot-cha-cha" in the old Paramount
schoolroom these days. And everyone, from
executives down, fighting to carry the books
of a couple of little "Vanities" girls. "Ain't"
it fun?

But poor Mr. Carroll. There's the tragic
little number of the troupe. Haunted and har-
assed as he is, he discovered another little
problem on his hands. The Eastern group of
beauties and the Western group of beauties
aren't as friendly as they might be. In fact,
during rehearsals, the looks that fly from East
to West and West to East threaten to bring on
a typhoon that might make a piker out of last
year's earthquake.

A ND then, one little Western cutie discovered

the Eastern beauties were to be dressed in

lovely furs during one number. One was to be

the Spirit of Silver Fox, one the Spirit of

Ermine, and so forth.

Like a streak she was in the head office.

"I've been on this lot almost a year," she
stormed, "and so what? These 'Vanities' up-
starts come out here and get beautiful furs and
what do I get? A rubber bathing suit. Now
I want furs or I'm going to start something."

So, to avoid any trouble, they let her be the
Spirit of a Rabbit's Tail and she wore the little
blob of fur for a pompon on her cap. And all
was well.

But, in spite of it all, the beauties keep
hounding the weary and nerve-torn Mr.
Carroll, who wishes he had never left the
peaceful, blaring, glaring Broadway for the
hysterical chase of Hollywood.

SHE LOOKS TEN
YEARS OLDER
THAN WE ARE

WHY, SHE WAS IN

SCHOOL WITH ME. ITS

HER DISHPAN HANDS

THAT MAKE YOU

HINK HER OLDER

Dishwashing with harsh soaps will

coarsen hands so quickly, leave

them red, rough, old.

That's why clever women use Lux
for dishes. Lux has
none of the harmful

People judge a woman's age by her
hands— don 't let yours get old-looking!

alkali ordinary soaps often contain.
Its gentle suds protect the natural
oils, leave hands smoothly white
and young after their dishpan
beauty care. Lux for all your dishes
costs less than \<f. a day.

LUX EVERY DAY KEEPS

OLD HANDS AWAY!

The

SHERRY-NETHERLAND

At Home" By-the-Day

A delightful suite on the smartest square in New York . . . for
even your brief visits! No wonder you prefer this to the usual
hotel. Suites with boudoir dressing-rooms, serving pantries.

FIFTH AVENUE AT S9TH STREET • ON CENTRAL PARK • NEW YORK

124

Photoplay Magazine for May, 1934

LOVELY

Joan BlondelVs gift
for comedy sparkles through
the new Warner Brothers'
picture, " Smarty/' with
Warren William and
Edward Everett ilorton.

EATS BKEAD
EVEKY DAY
AND 1$ GLAD
TO TLLl'TV&I/

Good natured, lovable . . .
very much alive . . . Joan
Blondell enjoys every min-
ute of her busy existence.
In this friendly letter to
Betty Crocker, cookery
expert, she willingly gives
one clue to her abounding
vitality.

SCIENCE REVEALS WHY BREAD IS
OUR OUTSTANDING ENERGY FOOD

Proves that Bread:

I Supplies energy efficiently. Abundantly pro-
•*- vided with carbohydrates, which furnish
endurance energy (largest need of diet). Im-
portant in proper combination of foods necessary
for a complete diet.

O Builds, repairs. Contains also proteins, used
for building muscle and helping daily repair
of body tissues. Thus bread, and other baked
wheat products, used freely for essential energy
needs, do not unbalance diet in respect to pro-
teins as do large amounts of energy foods lacking
other essential nutrients.

Is one of the most easily digested foods. 96%
assimilated.

These three statements have been

accepted by the noted authorities on

diet and nutrition who comprise the

Committee on Foods of the American
Medical Association, largest and most impor-
tant association of medical men in the world.

For full explanation by eminent scientists,
read the valuable new free book on bread,
"Vitality Demands Energy."

CLEVER NEW USES FOR BREAD IN THIS BOOK BY BETTY CROCKER

Free! A thrilling new hook ofrecipe and menu suggestions/'Yitality Demands Energy ( 109 Smart New Ways Jy •
to Serve Bread, Our Outstanding Energy Food)". New ideas for combining bread with other foods to make \SS
an appetizing, well balanced diet. By Betty Crocker, noted cooking authority. Fascinating
accompaniments for soup, main course, salad. Answers to questions on bread etiquette.

Delicious, appetizing . . . bread "goes" with everything. Is economical, convenient . . . baked for you in
pleasing variety, together with other tempting baked wheat products, by your baker. Include breads in
every meal! Products Control Department of General Mills, Inc., Minneapolis, Minnesota.

Dear Betty Crocker:
Of course I like bread,
and of course I eat it —
every day! I oouldn't
keep in tip -top shape
without plenty of good
energy food, and that's
what bread is.

SEND FOR BETTY CROCKER'S FREE BOOK

Offer good only within continental limits of U. S. A.
Betty Crocker, Minneapolis, Minn.

Please send me your valuable new free
book on bread "Vitality Demands Energy**
in which science states facts about bread, and
you suggest 109 delightful new ways to use it.

Name-

Street or R.F.D. No^

City..

Copr. 1934, General Mills, Inc.

State-

(%}U2XXJCL ENERGY FOR ^LtcUlUZf/

"I Want A Baby"

By MARILYN HERD

The remarkable story
of a girl's strange quest

DECORATIONS
BY FRANK DOBIAS

Joan Randolph's steps turn, one fateful afternoon,
into unfamiliar paths that lead her into a whirlwind
of new emotions and their bewildering consequences

125

S BY magic, the pandemonium which filled
Madison Square Garden was stilled. One
moment, booes and hisses greeted the de-
| cision ; the next, a whisper in the top gallery
could have been heard at the ringside. The
referee, king of the arena, stared in amaze-
ment at the flaming-haired girl who stepped through the
ropes and strode toward him.

A man, any man, who dared to enter the sacred en-
closure of the prize ring would have been tossed out, and
here was a mere girl daring to invade the holy of holies.
Arc lights streamed on her glittering gown as she ad-
vanced upon Referee Gregory.

"t I "^HAT decision was positively unfair," Joan Ran-

* dolph's voice was tense with excitement. "Kid
Maloy won — you know he did." And she flayed the
referee in scathing sentences that zoomed through the
amplifiers to the galleries.

Thousands of fight fans thundered approval, and then
all were silent to catch Gregory's
answer.

"Lady, you heard my decision
— and that's that ! "

Joan persisted. "It's outrage-
ous! I'll go to the State Boxing
Commission. I'll — "

"Lady, go anywhere. Go tell
it to the Marines, but go away,
please." And he climbed out of
the ring with Joan after him.

Again the tumult broke out
mingled with derisive cheers for
the unpopular referee. Tom Rol-
lins, Joan's escort, seized her arm.
"Let's get out of here," angrily,
"unless you want to top your per-
formance with the rumba. By
now the tabloids are no doubt
setting your name for a head-
line."

He glanced apprehensively toward the press row.

Joan looked around undecidedly. The referee had
taken advantage of the interruption to hurry away.
There was no chance for Joan to continue the argument.
She permitted Tom to lead her through the staring
crowd.

Settled back in the luxurious upholstery of Tom's car,
she felt a curious weakness at the knees. Rollins grinned
placidly.

"AMTELL, Joan," he offered, rather smugly, "you're
» » improving. Two weeks ago, you almost knocked

down a cop on the bridle path with your reckless riding."
Joan on her black horse, rushing past like a whirlwind

of beauty, "racing the morning," as she would say, was a

familiar figure on the bridle path.

"Last month, you took a parachute drop on a dare."
The story of this had been much exaggerated. Joan

had only accepted the dare. And that was that.

"Really, you ought to marry me before you do some-

126

thing that even I can't condone — much as I love you.
Make a show of yourself a few more times and I don't
know that even I would take a chance on marrying you.
Better think it over."

"But I was right," she flared. "The decision was so
unjust."

"What could you do about it?"

NOTHING, I suppose. But I was so excited. I was
up there in the ring before I knew it. About
marrying you — I might marry you, as I've told you
before — but settle down — "

"One thing at a time," suggested Rollins comfortably.
"Let's get the marriage decided. We can talk about you
settling down afterwards."

They argued it out without reaching a conclusion be-
fore the car drew up at the Randolph home on upper
Fifth Avenue.

"I don't think I'll come in. Latish and all that.
I'll ring you tomorrow." He bowed her through the
massive doorway with a self-sat-
isfied smile. Tom knew what
Cyril Randolph's reaction would
be when he saw the morning pa-
pers. After the interview with
her father, maybe Joan would
welcome his arms. Well, he fig-
ured, he could handle her, and her
father obviously could not.

The next morning when Joan
came down to breakfast, she
found her father glaring at a sheaf
of morning papers. Her eye
caught one tabloid headline:
" Dauntless Deb Defies Referee,"
and beneath it, a flashlight of
herself with arm raised in a con-
vincing gesture.

Her father waved the tabloid
like a challenge. "Cheapening
yourself again. No family pride.
No self-respect." On and on. She offered an explana-
tion, but he would not listen. Resentful at not being
allowed to defend herself, she flounced angrily from the
room.

Hurt, resentful, puzzled, she brooded alone. She was
a fool to do the things she did. Then, why did she? But
they were never premeditated. A restless energy was
always driving her intensely in a vain searching for what?
She did not know.

GRADUALLY as the hours passed, the day took on
her mood. Clouds thickened. A fine drizzle began
to fall. She sat, staring at the trees across in the park.

Kate, her maid, entered with thick arms brimming
with fluffy lingerie.

"Please get out my tweed suit, Kate. I'm going for
a walk."

" Sure, a beautiful girl could find somethin' better to
do than tramping the wet streets alone. And in that
suit you certainly don't look like the Randolph heiress."

"I like it. It's been places, and seen things."

"What could it be seein' on a day like this but um-
brellas?"

"Who knows?" and Joan went off with her sketch-
book under her arm.

She tramped along through the drizzle. Her mood
took her, not down Fifth Avenue, where brilliantly
lighted shops beckoned for attention, but across town
into the tenement neighborhood where elevated trains
rumbled, and the rain dripped a sad, hopeless rhythm.

HER quick eye caught dingy, brave little shop win-
dows— creaking delivery wagons — sallow-cheeked
doorways. But, when she reached for her sketch-pad, her
mind snapped her back to her father's words.

She stopped midway on a shabby, thin, tenement-lined
street — sagging in fatigue after a weary day.

The rain rushed down in a sudden drenching shower
that sent her scurrying to a
nearby doorway. At the en-
trance was a photographer's
showcase alive with photo-
graphs of babies and children.
There were laughing babies
and frowning babies, and one
solemn-eyed youngster drink-
ing from a round, enamel cup.
There were babies reaching
eagerly with outstretched
arms, and babies too tiny for
anything but sleep.

Joan studied them with fas-
cination. She knew little of
babies. They had always
seemed all alike to her. But
these had definite personalities.

A door opened softly. Joan
glanced up. A tall, young man
in a bright blue smock towered

in the doorway. Joan's quick appraising glance noticed
his thick, brown hair, and his deep intelligent eyes.

The sign above the showcase read, "Michael Storm,
Photographer."

"Are you Mr. Storm?"

"At your service," the voice was low, pleasant and full.

"These are remarkable photographs," she said.

"I was all set to take another remarkable photograph,
when — well — " he smiled and said, "Listen." Joan
heard a baby's screams and a woman's scolding voice.

"Is having a picture taken that painful for a baby?"

Michael Storm's laugh joined Joan's.

"I can handle babies, but I can't handle mothers.
She shouts so she frightens him."

It amused Joan to think of this tall, powerful, hand-
some young man photographing little babies. Here was
adventure.

THE rain fell as if the clouds had burst. Taxis were
rare in this neighborhood. She liked the way Michael
Storm's eyes flashed with his words.

"You must have lots of pictures inside."

"Would you like to see them?"

"I'd love to."

She followed him into the studio where an exasperated
broad-bosomed Italian mother shushed her howling
baby.

"Oh, the little darling," Joan said. "He's a beauty."

WHETHER it was the soft tone of her voice, or the
bright cover of her sketch-pad, the baby's dry -eyed
sobbing gradually stopped and he stretched small hands
eagerly for Joan's pad.

Michael gently lifted the baby, sketch-pad and all,
into a high chair. The baby slapped the book with his
star-shaped hands and gurgled happily. The mother
stood aside, smiling and nodding, and Michael snapped
the picture.

The dark -haired mother beamed upon Joan, "You
must have a baby of your own to know so good how to

make him quiet?" Joan smiled.
The Italian mother bundled
up her baby and left Joan and
Michael alone.

"Here are the albums. Sit
here and we'll look at them,"
Michael indicated a brown
leather sofa with the imprint
of his long body deep in it.

They turned the pages to-
gether. Joan's wonder at
Michael's skill grew with each
page. Another conviction grew
with disturbing speed —
Michael Storm was a person of
rare charm — a puzzling com-
bination of deep strength and
delicate understanding. She
marveled at the dark intensity
of his face that reflected swiftly
every change of mood. And
his humor was delicious, as she learned when he went to
frivolous banter as he introduced the game of guessing
the futures of the babies in the albums.

"This one will grow up to be a politician," Joan pre-
dicted, indicating a very plump, frowning baby.

HMMM! I'm not so sure." Michael considered it
quizzically. "From the neck down, yes. But the
face, no. Mouth is too sensitive. His eyes are soft as a
poet's, expressive eyes, set wide apart — like yours."

Joan flushed at the comment, but found herself pleased
that he had noticed her eyes. She turned the page
quickly.

"How will this one turn out? Butcher? Artist?"

"That depends. I've a theory about children. Some
kind of a destiny is stamped on them at birth. You can
see it in these faces. The pity is that so many who bear
the stamp of finer things never get a chance. Many a
potential artist is driving a cab, or slicing steak."

"And many a gifted photographer is hidden away on a
side street." Joan checked her enthusiasm to add a
matter-of-factness to her tone.

127

" If you mean me, I may, some day, be on Fifth Avenue.
But I like to photograph babies and children."

"Why not on Fifth Avenue?"

"If you knew anything about Fifth Avenue, you'd
realize there's a famine in babies over there."

JOAN thought of her Fifth Avenue friends. Babies
were scarce, and so often they were accepted as trou-
bles for which parents had no time. Babies of the rich
were turned over to a cabinet of nurses, governesses and
servants. It had been so with her. Her mother had died
when she was three, and her father's one interest was his
banking. Her thoughts were interrupted by Michael's:
"Like this neighborhood?"

Joan nodded, thankful that her old tweed suit, her
rain-soaked hat, and her scuffed walking shoes, made
him think she belonged here. She noticed the time on
the one-legged clock, leaning recklessly on the mantel,
and hurriedly rose.

Michael's abrupt question caught her unprepared.
"Have you ever had your baby's photograph taken?"

Joan flushed. "Why, no. I never have." Was he
jesting?

" I'm making a special rate for the season — four dollars
for six, and seven dollars a dozen. That's reasonable?"

"Very."

"You could bring the baby up tomorrow afternoon,"
he said.

"You are businesslike. You bring me to admire your
genius, then you talk like an insurance salesman."

"Even geniuses must eat!" he laughed. "Wouldn't
you like to bring your baby for a sitting? Tomorrow
at three?"

Joan experienced an intense gone feeling in her stom-
ach. There was warmth and friendliness here and the
engaging promise of adventure.

"What do you say?"

"All right," she said, a bit weakly.

When Joan left the studio she walked rapidly until
she was sure she was out of sight, should Michael
Storm be watching. Then, she hailed a cab. She must
hurry. She and her father were entertaining. She
settled back in the cab and smiled out at the gray drizzle.

Joan thought of Tom Rollins, then of Michael Storm.
She pictured the serious-faced Tom in Michael's bright
blue smock and laughed aloud. The cab slowed and the
driver turned, "Say something, Miss?"

"Nope," she answered pertly. "I just laughed."

And the cab swung into Fifth Avenue.

THAT night, Cyril Randolph beamed as he looked
over the brilliant ballroom and saw Joan dancing with
Tom Rollins. She looked especially beautiful tonight in
her graceful, white satin gown, her small head covered
thickly with rich auburn curls, her quick blue eyes glow-
ing with excitement. And he nodded approvingly at
Tom Rollins' broad shoulders and firm, steady jaw.
"Just the man for Joan — practical, reliable and steady."
Tom had tried to convince Joan of this through four
long dances. In his orderly way, he had subtly em-
phasized what he could give her with marriage. Unemo-

128

tionally, during a feverish rumba, he had spoken of
wealth. Through a throbbing tango, he had pallidly dis-
cussed social position. During a gay fox-trot, it was
travel and leisure. And now, to the haunting lilt of a
waltz, he dwelt on his fourth qualification.

Joan wasn't listening. She had heard it all before.

Suddenly, Tom said sharply: "Joan! You're not
listening. What are you thinking about?"

Joan launched enthusiastically into her story of the
afternoon's adventure. Half through, she realized that
Tom's mind was miles away. She shrugged mentally and
silently considered where she might be able to procure a
baby before three o'clock the next afternoon.

The next morning, Joan sat before her dressing-table,
watching the sheen of her hair in the wake of her brush.

"Kate, how can I get a baby?"

Kate's horrified face popped from the closet.

"You've plenty of time to be considerin' that." Kate
had been Joan's mother's maid. She found it hard to
realize Joan was twenty-two.

"As a matter of fact, I expect to have a baby today,"
Joan said lightly.

IS it crazy you are?" with the privilege of an old
servant, and Kate's experienced glance swept Joan
from head to foot. Then the wrinkled face beamed:
"What a scare you'd be given' a body!"

Joan winked at Kate's reflection above her own.
"Would you be ve-ry surprised if I had a baby this
morning?"

Kate chuckled. " If me religion didn't teach the evils
of gamblin', I'd be bettin' you ten to one."

"I'll bet you."

"Go 'long with you, child. Don't be trying to cross
wits with Kate Grady," and she marched out.

The boudoir door opened again, and Kate's wide grin
hung there like the Cheshire cat's — just the grin — and
Kate's voice: "Ten dollars on it, Miss Joan, and good
luck to ye!"

By noon, it was a much perplexed Joan who checked
off the last name in the classified directory under the
listing:

"DAY NURSERIES" and "HOMES FOR CHIL-
DREN," and faint-heartedly dialed her last hope.

" T S this the Wilton Home for Children ? Can you let
-* me have a baby? No, not adopt it, just borrow it for
an afternoon. I'll take good care of it. I — " But the
receiver had clicked.

"I suppose there's only one thing left to do," and Joan
dialed Michael's number.

"Hello!" Michael's voice — clear and strong.

A long pause.

"Hello! Hello!" Michael's voice — like a hand
stretched to lead her to him.

She hung up without answering. She had to see him,
baby or no baby. "Besides," she convinced herself,
"it's fairer to go right up and explain that I haven't a
baby."

This sunny afternoon, the tenement street was alive
and happy. Joy lay thick upon it. Gay-voiced boys

were playing baseball. Happy mothers leaned on win-
dow sills, interested spectators in the prowess of their off-
spring. An almost unbroken line of baby carriages,
blanketed by the golden sunshine, fringed the curb,
while children of intermediate age played gleefully on
stoops and sidewalks.

A FEW doors from Michael's shop, Joan stopped in
her tracks. A buxom mother sat on a stoop with a
yellow-haired baby on her lap. The sight of that
particular baby offered a solution to Joan's problem.

She spoke to the baby — admiring it to its mother. She
played with it until she felt the mother had softened
sufficiently under her expertly guided flattery, and then:
"I'd love to have a picture of your baby. It's beautiful."

"I haven't a picture. It's somethin' I'm still savin'
for."

"Oh, you really should have one." Then, as though it
had just occurred to her: "Suppose I take the baby into
Michael Storm's. Then, I can have a picture for myself
and I'll make you a present of
the rest?"

The woman scrutinized Joan
closely. The baby's confident
smile decided her. "All right.
But I can't go with you. If I take
my eyes off the rest of 'em," wav-
ing her meaty palm at her brood,
"Johnnnnnie! Come out of that !
Takes after his father — always
gettin' into somethin'."

"The baby will be safe with
me," Joan assured her. "I'll
bring it right back."

"Glory be! Don't hold it like
that. You'll squeeze it to death."
She adjusted Joan's arms. ' ' That's
better. Just have to be careful of
their backs."

The baby's warmth penetrated
to Joan's arms. She had never

before held a baby. She looked down, the baby's mouth
formed a tiny circle and a weeny bubble floated on the
soft rose of its lips.

"Darling!" Joan breathed. "I never saw anythin' so
cunnin'!" And, despite the mother's warning, hugged it
tightly. At the entrance to Michael's, she kissed it and
whispered softly, "I love you — brat," she added gently,
a bit aghast at her sentimentality. The baby looked up
at her, wide-eyed and dimpled.

" Hello ! Hello ! " Michael greeted her. " So, we brought
the family!" He looked down into the baby's face, then
whistled softly.

"What's the matter?"

" What a beauty ! Girl or boy? "

"I — a girl." Joan's thoughts stumbled. "Marjorie
is — her — name. "

TOGETHER they posed the baby, who cooed happily.
Michael snapped a picture with each change of ex-
pression. Joan had never had so much fun. She wished

this experience could continue forever. But it was
almost time to go.

"Now let me take one of you with the baby," Michael
suggested.

Holding a baby was such a new experience that Joan
was confused before Michael's scrutiny. Then, the
painting of her mother in the library at home came to her
mind. Asa little girl Joan took her troubles there and
found comfort. Since her mother's death, that painting
had been a familiar shrine.

Joan cradled the baby against her. Her eyes grew soft
and gentle, her mouth tender. She felt the utter peace
and contentment that was reflected in her mother's face.

The eye of the camera focused.

THEN, suddenly, Joan experienced a curious breath-
less moment. The whole scene faded away — even
Michael. Past adventures swirled before her mind as
but vain restless searchings for a happiness now so close,
soft and warm, against her bosom. It was a moment like
part of eternity, yet so brief, that
when it was over and she had
breathed wonderingly: "I want a
baby!" Michael's hand, which
had started to close on the bulb
as it began, now relaxed.

The next instant she asked
quite casually. "Okay?"
"Fine."

With the pretext of hurrying
home, Joan left the shop with the
baby, agreeing to return in a few
days for the proofs. Michael's
quizzical smile as he escorted her
to the street remained to puzzle
her.

When Joan came for the proofs,
what she saw in the entrance
showcase made her catch her
breath. Smiling into her sur-
prised eyes was the photograph
of herself and the baby.

"Michael Storm," she said, anxiously, as he appeared
to the tinkling of the bell. "You mustn't put my picture
in your showcase."

"Why not? It's one of the best I've ever done."
"I'd rather you put in one of the baby alone."
"I'll do that, too. But do you really mind about the
other?"

TO argue would be to arouse his suspicions. To explain
would mean giving away her secret. It was not time
for that — yet. Besides, who would ever recognize her
photograph over here east of Second Avenue?

"Well, all right," she capitulated.

Michael brought forth a sheaf of proofs.

"Which ones do you want printed?"

"May I take them along and let you know — say, to-
morrow?"

"Naturally, you'll want your husband to see them."

"It isn't that."

129

"No?" merely polite.

"No." Having a husband was no part of Joan's
plans. "You see," she cast about in her mind, "you see,
I'm a widow." Quickly, she changed the subject. " I was
wondering about you last night."

"Wondering what?"

" TT^ IRST, about your name. Michael Storm ! Has a

* sound of Fate about it." She eased herself onto the
table and her legs swung.

Michael sat beside her. His voice assumed a mock-
dramatic tone:

"According to the records, I was left at a foundling
home. Traditional basket — locket about my throat —
all the trimmings. As the tale goes, it was a stormy
night, and the Feast of Saint Michael. The supply of
names was running low at the home and some dame hit
on the idea of calling me Michael, for Saint Michael, and
Storm in tribute to the night that delivered the lusty
baby. So, meet the Storm's big boy, Michael."

"Swell first act!"

"Act Two!" Michael an-
nounced, grandiloquently, his
gesture indicating the lifting of a
stage curtain. "When I was old
enough to work, farmers would
adopt me — just for the haying
season."

Joan saw his passionate, sen-
sitive face as it must have been
when, as a boy, he faced rebuffs
alone with splendid courage.

"At fourteen, I ran away,"
as casually as if that were the
conventional departure from an
orphanage.

"Act Three! Rousing music
— our hero joins a traveling car-
nival as a mess boy, soon he's a
roustabout, then a barker."

"A barker?"

Michael jumped to his feet, seized a cane lying against
the wall and, pounding the wooden floor, addressed an
imaginary crowd:

STEP right up 1-a-d-i-e-s and gennnn-tlemen ! Here
you see Joana — the most gorgeous — the most rav-
ishing— the most alluring of dancers." He indicated
Joan with a wave of his cane. Under his compelling
voice Joan visualized the gaping carnival crowd under
the barker's spell.

"J-o-a-n-a!" he shouted. "Of the flaming tresses and
the graceful curves! Do a dance for the ladies — and —
gentlemen, J-o-a-n-a!"

Catching his spirit, Joan swayed to the rhythm of a
rumba.

" What did I tell you? What did I tell you?" Michael's
eyes roved the crowd. "Joana — Princess of Aburkaki
— in her o-r-i-g-i-n-a-1, t-a-n-t-a-1-i-z-i-n-g, Aburkaki
Court Dance. That's enough, Joana. The rest you'll see
inside the tent."

He thumped the cane. "Ten cents. Ten cents. Step
right up. Ten cents. Just one-tenth of a dollar to see
the gorgeous — alluring — "

"Stop! Stop!" Joan pleaded, wiping tears of laughter
from her eyes.

MICHAEL leaned on the table beside her. For a
long minute they laughed into each other's eyes.
Joan heard the tumult in her heart — heard the carefree
music of the carnival — snorting calliopes, tinkling bells,
rollicking laughter, the sing-song of the merry-go-round,
all in a happy-go-lucky rhythm, rolling happiness from
town to town. And there was Michael, like a symbol of
its freedom and its color haranguing the gaping crowd.
Many a girl must have eyed him covetously as he wore
the gay colors of the carnival like a cloak. In drab little
towns he must have been a veritable Prince Charming.
Girls must have competed for his favor. Perhaps one
waited for his return, confident in a promise given.
"Act Four!" Michael announced. "Our hero meets
Pop Brady, who runs the
picture concession on the lot —
souvenir post-cards, tintypes,
gilt-framed photos. Pop needs
an assistant. He teaches me
photography. Pop must have
been born in a camera — I'll tell
you all about him some day.
I build up quite a business
among the kids. They take to
me. That's the knack of taking
kids' pictures — if they take to
you, they act natural, and the
camera does the rest."

" Why did you leave the car-
nival?"

"Pop had a stroke and died."
Michael paused. "A great
scout ! If there's a heaven, he's
up there photographing angels.
He left me the only thing he
owned— his camera. Without Pop, the carnival seemed
empty. So, here I am."

"Ever think of going back?"

Michael cocked his head as if he could hear its gay
summons. His eyes glowed as they looked past Joan.
He breathed deeply as of sweet air that came with twi-
light from rolling meadows into the carnival's midway.
"Maybe! Guess I'm a gypsy at heart." He tossed the
barker's cane back into the corner.

DUSK fell over the little shop. They talked on, dis-
covering with excitement that they looked at life
with the same eyes.

" You're right, life isn't a cage," Michael agreed. "But
what is it?"

"A wind — a free wind — swirling down its path with
an exciting whistle — with me in pursuit."

"Pursuing what?"

"That's just it— I don't know."

Joan felt that, at this moment, she was closer to know-

130

ing than ever before. Only the present was real. She
and Michael here, together, in the little studio that
seemed alive with children's faces, Michael's colorful
voice and eloquent eyes and vital hands to soothe a rest-
less longing.

She told him of her interest in sketching, and steered
the conversation until it was Michael who suggested that
she sketch here at his studio.

Joan was grateful to the dusk for hiding her excite-
ment— and the old tweed suit for hiding her identity —
and Michael's tact in not asking prying questions.

Glorious, happy afternoons at the studio filled with the
wonder of Michael while Joan sketched under his under-
standing encouragement. Her father was again in Lon-
don, and there were no questions about where or how
she spent her afternoons.

When Michael asked about "Marjorie" she answered,
"My aunt takes care of her in the afternoons." She had
anticipated that question and had rehearsed the answer.

He accepted that without comment.

Faithfully, however, each afternoon he would ask,
"How's Marjorie?"

And that would be the only reference to Joan's " baby."

AS the chain of happy afternoons grew link by link,
Joan reached the brink of telling Michael the truth,
but could not take the leap. It was too great a risk.

One afternoon, Joan rushed into the little studio
breathlessly.

" Michael ! Michael ! Come here ! " she called in a fright-
ened voice.

Michael came running from the developing room, fear
riding high in his eyes.

" My photograph ! It's gone from the showcase. The
one of me with the baby."

Michael followed her to the showcase.

"See, the lock is broken. Why do you suppose they
took only that one?"

"Caught someone's fancy, I guess."

"I'm worried. Honestly, I am."

"But why?"

She could not tell him that the disappearance of that
photograph threatened the happiness of her afternoons
with him.

Thereafter, the first fearful impression of impending
trouble persisted. Who had taken it? And why? Trou-
ble seemed to shadow her as she went from the Randolph
mansion across town to the tenement street — shadowing
her back and forth.

The shadow became blacker when she heard that her
father was returning from Europe.

THEN came the curt summons from her father to
come to the library.
"Why, daddy, you look ready to explode!" as she saw
his heavy, square face dark with anger. "Are your banks
all off the gold standard?"

"I've a rather unpleasant matter to discuss with you.
Please sit down." His dry hands fumbled with a paper
cutter on the table. "You told me before I went to
Europe that you refused to marry Tom Rollins. You

said you couldn't tell me why, that some day you'd be
able to tell me. Do you recall that?"

"Yes, father."

Mr. Randolph reached into the table drawer.

"Is this, by any chance, part of the explanation?"
And Joan saw, with amazement, the photograph Michael
had taken of her with the baby.

She realized her father's implication. Her blue eyes
grew cold. "That's part of the explanation."

" A ND I have the rest of it!" Cyril Randolph was
•**-furious at her brazenness. "I've had a detective
following you, ever since I got this," tapping the photo-
graph. "I know all about you and Michael Storm —
a record of your visits to the studio — how long you
stayed — and all the rest of it." His voice had risen
higher in anger.

"You dared do that?"

" I did more. The reporter who brought me this pic-
ture threatened publicity. I bought him off."

"Well, he shook you down — for nothing!"

"Do you mean the baby's not — ?"

"No! Plenty happened while you were in Europe, but
not that. However, the baby's not the question. Michael
Storm is."

The relief that had spread over her father's face van-
ished.

"I've a report on Storm from the detective agency.
No family! No name! Just a ne'er-do-well. A worth-
less nobody — a carnival mountebank. And — if you knew
what else I've found out — you'd be ashamed you ever
spoke to him."

There was threat and challenge in his charge.

But Joan did not falter. "What do you propose to
do?"

"I'm going to buy him off."

"There's not enough money in all the Randolph banks
for that." Proudly.

"He's only after your money."

"Money! Money! Money! That's all you understand."

" XT OW, you listen to me," he cut in angrily. " I forbid

•L ' you to see that man again. If you do — "

Joan's head reared proudly. She knew the conse-
quences without asking.

She also knew the risks. Michael might already be
married.

He had never told her he wasn't. And the lure of
the carnival was strong!

Hadn't he said he was a gypsy at heart? That he
might go back? And even if he stayed — what had her
father found out about him that he could threaten her
so positively?

A flood of doubts struck down on her like the hammer
of a wave.

Against this force, she set her love.

Their eyes met in a clash of wills.

Look for the next installment

"I Want A Baby"

in the June PHOTOPLAY

131

For the most absorbing

story of the year— a
story that will pull at

your heart strings, that

will sweep you into the

center of a compelling

romance, read the great

serial in Photoplay

I Want a Baby"

132

And Now

ADRIENNE AMES

MAollywood
t\ats!

OW . . . complete your "Hollywood Fashions"
ensembles with "Hollywood Hats" . . . exact copies
of the smartest hats worn by the most fashionable stars
on the screen and off! Look to PHOTOPLAY'S fashion
section for first news of these clever new millinery
styles. Then go to the store in your vicinity known
for "Hollywood Fashions;" faithful reproductions of
those charming originals, designed by famous studio
stylists, are on display at popular prices! Spon-
sored by photoplay magazine, "Hollywood Hats"
are new, smart, an innovation ... a fashion scoop!

THtS IS A GENUINE.

43 &S m^

IHOIXYWOCD FASHION,

SELECTED BY

Only genuine Hollywood
Fashions bear this label

IP HO TO IP LAY MAGAZINE

919 North Michigan Avenue Chicago, Illinois

In Association with WAKEFIELD & O'CONNOR.INC.

PATRICIA ELLIS

■■■■■■■■■

CLAIRE TREVOR

If "Hollywood Fashions are not sold in your community, send Photoplay Magazine your name
and address and mention the department store from which you prefer to buy ready-to-wear

J. lincJ l^amels delightfully IVlilcl -

■ Mrs. Potter d'Orsay Palmer has all
the quick grace and verve of the
Argentine — before her marriage she
was Senonta Maria Eugenia Martinez de
Hoz of Buenos Aires. Until her mar-
riage in Pans a few years ago she lived
abroad. Now she summers in Europe,
but divides the winter between their
Chicago apartment in the famous Palmer
House which was originally built and
owned by her husband's grandfather,
and their winter home in Sarasota,
Florida. She shoots, fishes, swims,
loves parties and the American movies,
and always smokes Camel cigarettes.

MRS. POTTER DORS AY PALMER

"And have such good flavor," con-
tinues Mrs. Palmer. "The thing I like
most about them is that I can smoke
as many as I want without getting
nervous or jumpy. I do not wonder
that so many people smoke Camels. "
More and more people are finding
that Camel's costlier tobaccos are
easy on the nerves. It's nice to know

"THEY ARE SO NICE AND SMOOTH"

that you don't have to watch how

c*%

much you are smoking when you
smoke Camels. And you will thor-
jhly enioy their mildness and the

lavor that never tires

ougnly enjoy
smooth, full
your taste.

Camels are made from finer, MORE
EXPENSIVE TOBACCOS than any
other popular brand.

v^amels costli

costlier tobaccos are

Mild

25 CE

30 Cent, In

liondes

CAROLE
LOMBARD

Plus Curves Mpnn \A/nr

THE

honeymoon

that should
have been

HERS

Helen turned away from the happy note
with a feeling of deep regret.

It didn't seem right that Martha and Jim
should be so happy. She half begrudged
Martha that happiness. After all, it
shouldn't have been Martha's honeymoon
but her own.

Hadn't she and Jim been engaged for
two years? And hadn't she had every
right to expect a long and pleasant mar-
riage?

She couldn't blame Martha, of course,
but Jim had acted rather shoddily. The
thought of the night that he had broken
the engagement still flooded her with
humiliation. She hadn't understood it
then . . . could find no reason for it.

And now with the honeymoon letter in
her hand, she sought again for some ex-
planation for Jim's actions. Poor thing!
She is still a long way from the truth.

HOW'S YOUR BREATH TODAY?

How is your breath today? Nothing
scares others away like a case of hali-
tosis (unpleasant breath).

Unfortunately, everyone has it at one
time or another — without knowing it.
Ninety per cent of the cases, says a
leading dental authority, are caused by
small particles of fermenting food
skipped by the tooth brush.

Don't risk offending others. Simply
rinse the mouth with Listerine every
night, every morning, and between times
before meeting others. It immediately
renders the breath sweet, wholesome and
agreeable.

Lambert Pharmacal Co., St. Louis, Mo.
Don't gamble . . .play safe . . . use

LISTERINE

The quick Deodorant

Photoplay Magazine for June, 1934

IT AIN'T NO SIN"

with Roger Pryor, John Mack Brown, Duke Ellington & Band ... Directed by Leo McCarey .■<^P^"--
if it's a PARAMOUNT P I C T U R E . . . i t* s the best show in town! 'WM.

Photoplay Magazine for June, 1934
YOU ARE INVITED TO THE

HOLLYWOOD
PARTY

R.S.V.P.- Revues, Songs, Variety , Pandemonium

rf>2k A LAURELTOLUPE-
AND OLIVER'S
ALL OF A TWIST!

HYSTERICAL FACTS ! NAPOLEON
IS STILL FRENCH PASTRY AND
BISMARCK IS ONLY A HERRING.

WHAT IS BUTTE RWORTH TO
POLLY- WHEN POLLY WANTS A
CRACKERP-A WISE CRACKER.

OTO

The World's Leading Motion Picture Publication

Vol. XLV No. 7

KATHRYN DOUGHERTY, Publisher

June, 1934

Winners of Photoplay
Magazine Gold Medal for
the best picture of the year

"HUMORESQUE"

1921

"TOL'ABLE DAVID"

1922

"ROBIN HOOD"

1923

"THE COVERED WAGON"
"ABRAHAM" LINCOLN"

1925

"THE BIG PARADE"

1926

"BEAU GESTE"

1927

"7th HEAVEN"

1928

"FOUR SONS"

1929

"DISRAELI"

1930

"ALL QUIET ON THE
WESTERN FRONT"

1931

"CIMARRON"

1932

J'SMILIN' THROUGH"
O'—"— ■ 0

Information and
Service

Brickbats and Bouquets ... 6

Questions and Answers ... 77

Hollywood Menus 78

Addresses of the Stars ... 82

Hollywood Cinema Fashions . 104

Casts of Current Photoplays . 122

High-Lights of This Issue

Close-Ups and Long-Shots

On the "Operator 13" Set

Blondes Plus Curves Mean War

Cal York's Monthly Broadcast from Hollywood

Cleopatra Conies to Hollywood

Would You Girls Marry Dick Powell?

Napoleon's Ghost Walks Out on Warners

Sylvia Tells Loretta Young How to Put on Weight . . Sylvia 52

Seymour — Photoplay's Style Authority 59

Get a Comedian, Quick! Norman Tavrog 67

Photoplay's Hollywood Beauty Shop . . Carolyx Van- Wyck 71

Screen Memories from Photoplay 94

Vote Now 115

Kathryx Dougherty 23

George Kent 32

Sara Hamilton" 46

Sy-lvia Harper 48

Winifred Aydelotte 50

"I Want A Baby" (Fiction Story) ....

Photoplay's Famous Reviews

Brief Reviews of Current Pictures

The Shadow Stage

Marilyn Herd 125

Kathlyx Haydex

Jim Tully

Sara Hamiltox

26
28

Personalities

Elizabeth Bergner — Puppet or Genius?

"A Whale of a Man"

A Broken Heart in Hollywood ....

Cinderella of Broadway Margaret E. Sangster 43

"Baby Mae West"— That's Toby! 45

A Raft of Work Is His Reward ....
Lupe and Johnny Were Lovers ....
Her Face Was Her Misfortune
The Little Colonel Marches Back

Jane Hampton

Kirtley Baskette

Ruth Raxkix

58
68
70

On the Cover — Carole Lombard— Painted by Earl Christy

Published monthly by the Photoplay Publishing Co.
Publishing Office, 919 N. Michigan Ave., Chicago, 111. Editorial Offices, 221 W. 57th St., New York City

The International News Company, Ltd., Distributing Agents, 5 Bream's Building, London, England

Kathryn Dougherty,

President and Treasurer

John S. Tuomey, Vice-President Evelyn McEvilly, Secretary

Yearly Subscription: $2.50 in the United States, its dependencies, Mexico and Cuba; $3.50 Canada; $3.50 for foreign countries. Remittances

should be made by check, or postal or express money order. Caution — Do not subscribe through persons unknown to you.

Entered as second-class matter April 24, 1912, at the Postoffice at Chicago, 111., under the Act of March 3, 1879.

1 he Audi

lence

lalks Back

Greta Garbo, stately ruler of her
movie kingdom — the queen
of countless faithful hearts

THE $25 LETTER

Thank you, Photoplay, for the article
" Ladies as Mr. Menjou Likes Them." I got a
lot of helpful advice from it. Now it is our
turn, girls:

If I were a man I would try to realize that
there is little romance in holding hands with
someone whose nails are in mourning, or in
being caressed by a cheek so rough it hurts, or
in having a greasy, slick head ruin your dress.

I would not think it was my privilege (being
a man) to imbibe too freely. I would not try
to persuade a girl to drink if she had no taste
for liquor. If I thought she looked nice I would
tell her so — occasionally. I would try to
realize that it is not sissified to be courteous.

But then if I were a man I would probably do
all of these things, and still wonder why girls do
not "give me a tumble."

Gene Garner, Allandale, Ont., Canada

THE $10 LETTER

Calling all producers! Calling all scenarists!
Rush to center of public opinion! Three
actresses seen leaping on thin, overworked
plots! If distress signal is not heeded, adored
darlings will fall into fatal rut of monotony!
Carry out following first aid relief:

Present Ann Harding with a wedding ring in
the first scene of her next picture. This would
be a fresh treatment of Miss Harding's cinema
romances. It might bring forth shocked pro-
test from a few conservatives, but the revolu-
tion must go on!

Let Miriam Hopkins portray a normal girl of
just average intelligence. In the past, she has
spouted one or two lines from the classics,
thereby indicating to an unimpressed audience
the generosity of her cerebral proportions.

IN the screen ring Garbo and
Hepburn carry on quite obliv-
ious of the hubbub they have
created.

With the odds three to one on
Garbo, her opponent fights gal-
lantly on.

Each blow is measured, and
the audience tensely awaits the
gong, ever mindful that the next
round may hold another unex-
pected thrill.

You are the referees. The de-
cision is in your hands!

The installation of motion pic-
tures in all our schools would be
a definite step to the fore. Amaz-
ing results teachers have ob-
tained in testing on travelogues
and historical films would seem
proof enough.

If subjects are more easily
grasped through screen lessons
than by spending tedious hours
in classrooms, surely no one will
debate the fact that this new
method far surpasses the old.

Rescue domestic-appearing Irene Dunne
from the back streets of her hero's life. Allow
her to abandon attempts to appear as an allur-
ing siren. Give her instead, the role of a sturdy
homemaker who fairly beams with civic pride
and is all agog over the "Better Babies
League."

Fern Richman, Hollywood, Calif.

THE $5 LETTER

Has anyone ever written you concerning the
wonderful study one can make of psychology
and human nature through the movies? Have
you ever been placed in a position where you
would have been a total loss were it not for the
fact that you could master the situation by
using facts from your motion picture experi-
ence?

I dare say half of my practical knowledge
and at least one quarter my understanding of
people I can credit to the screen plays I have
attended.

After all, a moving picture, like a book, is
only a pictorial example of diverse personali-
ties and circumstances.

Burton T. Wilson, Binghamton, N. Y.

Katharine Hepburn, the chal-
lenger whom many have named
"the greatest actress in films"

GARBO VS. HEPBURN

Since your readers seem to be taking sides on
the question, "Is It Garbo or Hepburn?" I
want to stand up for my favorite actress.

Katharine Hepburn can never hope to take
Garbo's place.

Hepburn hasn't Garbo's genius, person-
ality or acting ability, and will never have her
appeal.

I cast my vote for Garbo now and forever!
Inez Marne, Louisville, Ky.

I read in your March issue, "Is It Garbo or
Hepburn?" Very evidently Kirtley Baskette
is prejudiced against Katharine Hepburn.

Mr. Baskette seems to think Hepburn has no
personality of her own. Why, it's her per-
sonality that has made her do the things she
has — not a desire for publicity.

The one thing that has kept Garbo on her
"throne" is her mysterious manner.

In her films, Hepburn puts heart and soul
into the act and as a result we have acting
which is so real that one can feel the part.
But Garbo cannot throw herself into any role
and make it seem natural. When I see Garbo
play, I find myself tense, trying to help her
finish her dramatic gestures.

Macon Crowder, Raleigh, N. C.

I think "Queen Christina" is the best answer
to Kirtley Baskette's question, "Is It Garbo or
Hepburn?"

No one will ever remove Garbo's crown.
When Garbo steps down from her throne and
removes it with her own hands, then you may
hail a new Queen. Until then, Garbo reigns

supreme !

Ora Eller, St. Louis, Mo.
[ please turn to page 8 ]

£&hi

Hm luiM^-chMAwmjm xowclown an haaiol

• 4 MILLS BRO

* DICK POWELL * GINGER ROGERS

Funniest and fastest of all the great Warner

Bros, musicals! Produced with all the smartness

and variety of "Wonder Bar" and "Gold

Diggers" — but entirely and sensationally

different! Your chance to see a host of

famous radio acts in action, in an

uproarious inside story of the ether

1 studios! Don't miss

lO MILLION

With all the great personalities pictured here, plus

Three Radio Rogues, Muzzy Marcellino, The Three

Debutantes, Joseph Cawthorn, Grant Mitchell.

A First National Picture directed by Ray Enright

Reports from the Highways and Byways of the World

CONTINUED PROM PAGE 6

Although "Nana" is Anna Sten's first
American film, our audiences are
lavish in their praise of the charming
Russian lass who did her dramatic
best with Phillips Holmes in the
famous Zola classic

"Is It Garbo or Hepburn?" asks your
writer. Two years ago all of us were asking:
"Is It Garbo or Dietrich?" Six months from
now, we shall no doubt ask: "Is It Garbo or
Sten?" Garbo remains the high standard of
comparison.

Stars come and stars go, but Garbo brings us
illusion and we can't give her up.

Bertram Collins, New York, N. Y.

WILL=REALITY PLUS

Come on, Will Rogers, you are easily the
star of versatility in being natural. The world
is dying for more wit and humor with reality as
it exists.

It was a pleasure to view "David Harum."
Such films make us want to go home and say
what we mean and act as we feel, casting aside
all pretense.

Marguerite Reed, Osawatomie, Kansas

THAT "HOMELY" FEELING

Well, I found my Master Bedroom in
"David Harum." It was not Aunt Polly's
comfortable one, but the leaky, forlorn room to
which the new bank clerk was ushered in the
town's leading hotel.

I have occupied literally hundreds of just
such rooms and I know other traveling men got
as much kick out of it as I did! The broken
window, the wall paper, the lumpy mattress,
the cheap furniture — all that's real, as real as
Will Rogers' acting.

E. H. Locke, Harrisburg. Penna.

PROVING A POINT

A school teacher speaking.

Recently I saw a "short" on an expedition
climbing a peak in the Tibet. It gave many
graphic pictures of the countryside, villages,
people in remote spots, some religious dances
and the queer customs of the natives.

The next day I took count of the number of
my pupils that had seen this picture (the main
feature was a popular children's story). Later
in a geography examination I asked questions
about the Tibet region. And not a question
was missed by children who had seen the film!
M. Jackson, Portland, Ore.

AN AUSPICIOUS BEGINNING

I wish to compliment Anna Sten on her
"Nana." She is gloriously beautiful and a
"natural." She has more in common with the
American actresses than have her distin-
guished foreign sisters — more pep, more fresh
charm. Here's to your added success, Anna
Sten!

Ida Fossk k. Collierville, Tenn.

THANKS FOR SAYING SO

Having the responsibility of caring for an
invalid mother, I don't get to go places as much
as I used to. But I do have plenty of time to
read.

Through Photoplay, I learn what the stars
are wearing, how they live, and what they do
at work and play.

The "Shadow Stage" keeps me posted on all
the new films. When I do get away to go to the
movies, I know what pictures to see. If
Photoplay says it is good — it is good.

Adlene Hamilton, Los Angeles, Calif.

GOOD FOR YOU

I'm a grandmother who remembers the days
when about the only entertainment was a
medicine show or a barnstormer's performance
of "Black Crook" (how that shocked my
mother!) or "Uncle Tom's Cabin."

"Heigh ho! A far cry from those days," I
thought last night as I sat in one of our movie
palaces.

Perhaps at sixty-two I should be at home
evenings, knitting, instead of driving thither
and yon (in my own car) to see various screen
productions that intrigue me.

Perhaps — but so long as Hollywood con-
tinues to release such delightful films, I'll not
companion with the fireside kitty.

Lelia Hayes, Kansas City, Mo.

HAIL LITTLE CATHERINE!

You won't need a telescope to discover a new
star in "Catherine the Great." Right there
before your eyes a brilliant new star, Elizabeth
Bergner, performs in a manner that is a kind of
surprise, the likes of which few audiences have
experienced. Those eyes, how penetrating.
And her voice is a marvel. It will haunt you
long after you have witnessed this elegant film.
L. Kober, Pittsburgh, Penna.

LET-S PLAY "GIVE AND TAKE-'

The public is spoiled by the old theory,
"The audience is always right." The pains-
taking artist is conscious of this unfairness.

We speak of "the gentle art of criticism,"
and yet I know of no group who are more
cruelly criticized — yes, torn to shred and tat-
ters— than these hard-working and conscien-
tious people of the screen. They take this
criticism gracefully. Maybe, for a change,
the audience should take a little criticism, too.
Edith M. Gilbert, Portland, Ore.

ACTOR. GENTLEMAN AND SCHOLAR

I like Leslie Howard best of all the movie
players because, in a wide variety of roles, he
brings to each a freshness of characterization
and a delicacy of shading that is a joy to watch.
His diction is flawless. In him we have an
actor of substance, not a mere shadow com-
pounded of sex-appeal and good tailoring.

The movies would strike a new high if more
actors had his ability to grasp and project the
subtle nuance of each character study.

Constance Haxley, Boston, Mass.

[ PLEASE TURN TO PAGE 10 ]

Genuine and natural are the words
folks use to describe Will Rogers. Of
"David Harum" they say, "Such pic-
tures make us want to say what we
mean and act as we feel, casting
aside all pretense"

Photoplay Magazine for June, 1934

Around the

And it is a trying time for many
l. women. You feel weak, dizzy.
Your head throbs with dull pain.
Then you take a Bromo-Seltzer . . .
drink it as it effervesces in the glass
of water. Welcome relief comes quickly!

As Bromo-Seltzer dissolves, it effer-
vesces. This is one reason why it so
promptly brings relief from gas on the
stomach.

Then Bromo-Seltzer attacks the pain.
Your headache is quickly relieved. At the
same time your nerves are calmed and
soothed . . . you are gently steadied. And
all the while, needed alkali is being sup-
plied to the blood.

Bromo-Seltzer— the balanced remedy

No wonder your head clears . . . pain goes
. . . you feel like another person before
you know it! Relief is quick!

trying time of the month

Bromo-Seltzer is a balanced
compound of five medicinal
ingredients, each of which
has a special purpose, each
of which brings a needed
benefit. No mere pain-killer gives the
same effective results. Remember, too,
you take Bromo-Seltzer as a liquid —
therefore it works much faster.

Best of all, Bromo-Seltzer is pleasant
and dependable. It contains no narcotics
and it never upsets the stomach. Indeed,
it has been a standby in many homes for
over forty years.

You can get Bromo-Seltzer by the dose
at any soda fountain. Keep the large,
economical, family-size bottle at
home. Ready at a moment's notice
to relieve headache, neuralgia or
other pains of nerve origin. Full di-
rections are given on the bottle.

But make certain of the one and only
Bromo-Seltzer. Look for the full name
"Emerson's Bromo-Seltzer" on the label
and blown into the famous blue bottle.
Imitations are not the same balanced.
preparation . . . are not made under the
same careful system of laboratory control
which safeguards Bromo-Seltzer. Sold
by druggists everywhere for more than
forty years. Emerson Drug Company,
Baltimore.

NOTE: In cases of persistent headaches, where the
cause might be some organic trouble, you should of
course consult your physician.

EMERSON'S

BROMO-SELTZER

Quick

Pleasant

Reliable

Brickbats and Bouquets

[ CONTINUED FROM PAGE 8 ]

Henceforth, the top stars of Hollywood have a rival in Otto Kruger. That

is, judging from tender phrases his devotees are writing about him. In a

scene from "Crime Doctor" he is shown with Karen Morley

THREE CHEERS FOR MOVIES!

Yea, bo! It's about time we schoolchildren
had a word. Even though we are but high
school students, we certainly know motion
pictures. Perhaps you would, too, if you were
forced each day to ponder over a lot of books
containing facts. Shucks, it's all Greek to us.

But an entirely new decision confronts us
when we see the lessons before us in pictures.
Science, history, civics and geography are no
longer a burden.

Gee, it is great to see and hear your favorite
characters in action. Even though we have
read "Tom Sawyer" and "Little Women" over
and over again, we certainly were thrilled to
truly meet them face to face.

Phyllis M. Kampff, Minneapolis, Minn.

THE PRINCELY NILS

Why doesn't Nils Asther get a break — the
stardom to which his excellent acting and
charm of voice and manner entitle him?

He'll enhance the glamour of any star a
thousand times. The finest actress with the
finest part needs a leading man of equal at-
traction and ability.

Let Asther immortalize some character of
history. There must have been a man some-
where besides Henry the VIII, who had per-
sonality. Royalty revivals, bristling with ro-
mance, call for princely lovers.

Olive K. Nesbitt, Erie, Penna.

HERE'S HOPING

I've seen a lot of "star" material ruined by
poor stories and direction and I sincerely
hope the "higher powers" know what a fine
actor they have in Otto Kruger. Not only
is he a good actor, but also one of the hand-
somest men on the screen.

Here's hoping he'll get the break he deserves.
Hope Leonard, North Hollywood, Calif.

VOICE OF THE PUBLIC

When will producers learn to listen to the
pulse of their audiences, and not to a director
who feels he must do "the something different"?
Betty C. Faris, Pittsburgh, Penna.

AMERICAN IDEAL IN JAVA

Last winter while making a trip around the
world I met a Dutch girl in Sarabaya, Java.

She spoke practically no English, and had
never been away from Java. But her greatest
ambition was to meet an American man in
person. She had derived her impressions from
the movies. And she wanted to know if all
American men were big, handsome, generous
and brave as those she had seen on the screen.

Here's hoping the movies keep right on
depicting such fine types of manhood! For
isn't that just the way we want foreigners to
think of American men?

Mabel Allen, Minneapolis, Minn.

WAIT 'TIL YOU SEE "MAY"

Once we rated motion picture magazines on
a par with the wood-pulps, at least among the
taboo list of periodicals. Let me congratulate
you for being the first to put out a publication
that parents and teachers cannot afford to
miss.

Your March and April numbers have been
exceptionally fine. I have used both in my
class in children's literature, and have sug-
gested that the students watch each issue
for material they can use.

C. T. Ryan, Kearney, Nebr.

SO VERY DOWN-TO-EARTH

Here she comes. Ah! There is Alice Brady.
I breathe a sigh of contentment. Isn't she
beautiful? No? Well, I'm speaking of deep,
genuine beauty — the kind that's in the soul.
Listen to her voice.

Even absolutely meaningless things sound
like words of a sage.

She's human and refreshing. And the sense
of humor that woman has!

Alberta Daniels, Indianapolis, Ind.

MOVIE TIME TABLE

Not only is it disconcerting to others, but it
is most difficult to pick up the trend of a story
when we have missed the opening chapters.
We would not think of opening a book some-
where in the middle, of finishing it and then
returning to read the beginning. Yet that is
the manner in which most of us see pictures.

If every theater would inaugurate a "Movie
Time Table, " we could arrange accordingly.
Alice Sutter, Passaic, N. J.

Messages have come from far
and near begging that producers
recognize the princely mannered
Nils Asther as star material of
first order

Photoplay Magazine for June, 1934

I I

A GLORIOUS NEW WORLD

"Did you ever see a dream walking?" is a
song title, but "did you ever see a dream come
true? " Well, I did.

Last summer I took a trip to England and
visited two dear maiden old ladies. One had
been ill in bed for five years. The other is her
constant companion and nurse. Neither had
ever seen a "talkie."

I had the pleasure of taking the nurse to
see her first.

She was spellbound, and when the feature
came, her dear face was a picture. She, who
had lived her life in a small village untouched
by the world, saw a new world unfold before
her eyes. It was a dream come true.

Betty Hill, Chicago, 111.

THE HANDWRITING ON THE WALL

The average middle-aged, middle class
family prefer to take their amusement "settin'
down."

And there are very few families where a vote
for bridge would be unanimous. A motor
trip means more exertion for father.

We must do something to take our minds off
the prosaic. What is left? The movies. So
after a scramble we pick the best of the lot and
hope fervently that it will meet the needs of
Junior as well as Grandma.

I believe radio serials are becoming more and
more popular because the producers are giving
us so much " Singapore Sal" stuff and, figura-
tively speaking, tell us to "Take it and like it."

Watch out, Mr. Movie Producer! You'd
better read the handwriting on the wall!
Jeanne Dalzell, Pasadena, Calif.

FACE VALUE

"IT" is in people's faces! It is, for a fact.

You are not lastingly attracted by a star's
hair, or clothes, or curves, or sex! No-o! You
are attracted by her facial expressions!

Hundreds of seemingly star-destined men
and women have been able to go only so far in
pictures, even with the aid of A-l publicity.
The reason was — their faces didn't click.

Look through any "physical" magazine.
You cannot help but notice the marvelous
physiques of both the men and the women.
Compare them with the physiques of your
favorite movie stars. M-m-m!

Then study their faces. Compare them with
the faces of Garbo, Dietrich, Crawford,
Shearer — and the three Barrymores — and
Chevalier, Gable, Beery, Baxter, March.

I bet you'll laugh out loud! I did.

And say, I'm wondering if you'll agree, when
I say a successful actress' greatest asset can-
not be hair, clothes, curves or sex, because such
points can be sold only so long, and that, with-
out facial assistance, isn't half long enough to
make a successful actress!

Edwin C. Porter, Royal Center, Ind.

LOOKING BACKWARD

These are strenuous days, and even pro-
ducers must feel the need of economy, so why
not get out a few of these very fine reels of
"yesteryear."

For instance, " Humoresque." Has there
been anything finer?

Or Charlie Chaplin's "Gold Rush." How
the scene at the table touched one's heart, as
Charlie realized he was only being made fun of.

I have questioned friends and many agree
they would like to see these films again.

Juliette Olsen, Seattle, Wash.

IM GLAD SHES
COMING TONIGHT,
SUE. SHE'S LEFT
OUT OF SO MANY
THINGS SUCH A
PRETTY GIRL, TOO
I FEEL SORRY
FOR HER

SO DO I, MOTHER.

SHE DOESN'T
REALIZE HOW SHE
SOMETIMES OFFENDS.
I WANT TO HELP HER

TWO HOURS BEFORE THE PARTY

SO SWEET OF YOU,
SUEJO LET ME COME
STRAIGHT FROM THE
OFFICE AND DRESS
HERE FOR THE PARTY/

DELIGHTED TO
HAVE YOU DEAR.
THE BATHROOM'S
RIGHT NEXT DOOR
WHEN YOU WANT
YOUR BATH

IV E JUST HAD MINE
AND ITS MARVELOUS
HOW A LIFEBUOY
BATH FRESHENS
ONE UP. NO,lB.O."
WORRIES EITHER

B.0.'_ SURELY

THERE'S NO

DANGER OF

THAT '

YOU NEVER CAN
TELL. WHEN THERE'S
A CROWD AND
DANCING ....AND
THE ROOM GETS
HOT.... WELL I'M
NOT TAKING ANY
CHANCES

i never realized
about "b.o." before
but i'll be more
careful n0w_
bathe often
with lifebuoy,
what marvelous

LATHER/

NO B.O. TO SPOIL THIS PARTY/

SUE, IVE HAD A MARVELOUS
TIME/ BILL'S WAITING TO
TAKE ME HOME . HE'S MADE
A DATE FOR TOMORROW.

THANK YOU FOR EVERYTHING

EVERYTHING/

BLONOE AND
8RUNETTE- AND

I DON'T KNOW
WHO HAS THE

PRETTIER
COMPLEXION

Have you discovered yet what a wonder-
ful complexion soap Lifebuoy is —
how mild its lather — how kind to the skin?
Yet it cleanses thoroughly — deeply —
washes away clogged impurities — freshens
dull skins to radiant health.

Summer warning

Warmer weather means more perspiration
— more danger of'B.O." {body odor). Life-
buoy's abundant lather — its quickly-vanish-
ing, hygienic scent
tell you Lifebuoy
gives extra protec-
tion against this un-
forgivable fault. Play
safe— use Lifebuoy. 11^^"' 5S£'

Consult this pic-
ture shopping
guide and save
your time, money
and disposition

Brief R

e views o

Current Pictures

•jr Indicates photoplay was named as one of the best upon its month of review

ACE OF ACES— RKO-Radio.— Richard Dix in a
not-so-hot wartime aviation story. (Dec.)

ADVICE TO THE LOVELORN— 20th Century-
United Artists. — As punishment for neglect of his job
as reporter, Lee Tracy is made "Miss Lonely hearts"
editor of the newspaper. Sally Blane, Isabel Jewell,
Sterling Holloway, C. Henry Gordon lend able
support. Fair. (Feb.)

AFTER TONIGHT— RKO-Radio.— Connie Ben-
nett's a Russian spy in love with Austrian officer
Gilbert Roland; fast, exciting. (Dec.)

AGGIE APPLEBY, MAKER OF MEN— RKO-
Radio. — Country-boy Charles Farrell is made into a
tough mug by bad-lady Wynne Gibson. Bill Gargan.
You'll laugh and like it. (Dec.)

• ALICE IN WONDERLAND— Paramount. —
Lewis Carroll's fairy tale filmed for the amuse-
ment of both young and old. Charlotte Henry is
charming as Alice. A technical achievement. (Feb.)

• ANN VICKERS— RKO-Radio.— Irene Dunne
in a finely acted tale of a social worker who
loves but doesn't marry. Walter Huston, Bruce
Cabot. Strictly for sophisticates. (Dec.)

AS HUSBANDS GO— Fox.— When wife Helen
Vinson is followed home from Europe by admirer
G. P. Huntley, Jr., husband Warner Baxter takes him
out fishing, and straightens things out. Mediocre.
(Feb.)

AS THE EARTH TURNS— Warners.— Gladys
Hasty Carroll's story of farm life, beautifully por-
trayed by Jean Muir, David Landau, Donald Woods
and a fine supporting cast of young players. (April)

AVENGER, THE— Monogram.— Adrienne Ames
and Ralph Forbes wasted on this one. (Dec.)

BEDSIDE— First National.— This tale about War-
ren William attaining success as an M.D. by the use
of another's name and diploma is a jumbled affair,
indeed. Jean Muir. (May)

BEFORE DAWN— RKO-Radio.— Dorothy Wilson,
a spiritualist, tries to help detective Stuart Erwin
solve a murder mystery — in a haunted house! Not
for the kiddies. (Jan.)

BEFORE MIDNIGHT— Columbia.— A flashback
of a famous murder case with Ralph Bellamy as the
ace detective who solves the mystery. June Collyer
supplies the feminine allure. Passable. (April)

BEGGARS IN ERMINE— Monogram.— Unusual
plot idea and good direction make this splendid
dramatic entertainment. Lionel Atwill superb as
maimed and beggared steel magnet. Betty Furness,
James Bush, H. B. Walthall. (May)

• BELOVED— Universal.— The story of a com-
poser's life. His poverty, his disappointment
in a worthless son, his scorn of grandson's modern
musical triumphs, his great love for his wife, and his
belated success. John Boles, Gloria Stuart. (Feb.)

BIG TIME OR BUST— Tower Prod.— Regis
Toomey and Walter Byron try hard, but to no
avail. However, the good singing voice in the film
may make you forget the old plot. (Feb.)

BLOOD MONEY— 20th Century-United Artists.
■ — Underworld bail bondsman George Bancroft falls
in love with pretty Frances Dee and deserts his
gangster friends who made him. Good suspense.
(Jan.)

• BOLERO— Paramount.— You will find George
Raft and Carole Lombard an engaging team as
they dance to Ravel's haunting " Bolero." And Sally
Rand's fan dance is exquisite. (April)

BOMBAY MAIL— Universal.— Murder aboard
the Bombay Mail train. Inspector Edmund Lowe
solves the mystery. The large cast includes Shirley
Grey and Onslow Stevens. Good suspense. (Feb.)

Big Money Prises

for fascinating

new Contest

that starts

in July issue of

Photoplay.

Prepare to

win by getting

your copy of

Photoplay

early

• BOTTOMS UP — Fox. — A grand musical,
boasting two song hits, clever lines, direction,
story, Hollywood locale. Spencer Tracy, Pat Pater-
son, Herbert Mundin, fine support. (May)

• BOWERY, THE — 20th Century-United
Artists. — Grand fun while Wally Beery as
Chuck Connors and George Raft as .Steve Brodie
battle for leadership of the Bowery in old days.
Jackie Cooper, Fay Wray. Don't miss it. (Dec.)

BROADWAY THRU A KEYHOLE— 20th Cen-
tury-United Artists. — Walter Winchell's melodrama
of Gay White Way night life. Entertaining. (Dec.)

BROKEN DREAMS — Monogram. — Buster
Phelps shows how a little child can lead them; it's
slightly hokey. {Dec.)

CAT AND THE FIDDLE, THE— M-G-M.—

Pleasant entertainment is this film with Jeanette
MacDonaldvocalizinggloriously and Ramon Novarro
as her lover. Frank Morgan, Charles Butterworth.
(April)

CHANCE AT HEAVEN— RKO-Radio.— "Poor
but noble" Ginger Rogers and rich Marian Nixon
want Joel McCrea. Excellent playing makes this old
plot highly appealing. (Dec.)

CHIEF, THE— M-G-M.— Ed Wynn in a filmful of
his nonsense that's good at times and at others not so
good. (Dec.)

COME ON MARINES— Paramount.— Be assured
of a howling good time with carefree Marines Richard
Arlen, Roscoe Karns. Grace Bradley's dance is a
wow. Ida Lupino. (May)

COMING OUT PARTY— Fox.— So poor Gene
Raymond may go on European concert tour, Frances
Dee keeps from him news of coming blessed event and
goes through with her society debut. Old plot, but
fine cast. (April)

• COUNSELLOR-AT-LAW— Universal.— John
Barrymore, in a splendid portrayal of the
lawyer who rose from the Ghetto to position of New
York's foremost legal adviser. Bebe Daniels, as his
secretary, is excellent. Each member of the large
cast does fine work. Never a dull moment. (Feb.)

COUNTESS OF MONTE CRISTO — Universal.
■ — Novel tale of extra Fay Wray driving off in studio
car, registering at hotel as Countess, and being
credited with capture of crook Paul Lukas. Excellent
cast. (May)

• CRIME DOCTOR, THE— RKO-Radio— As
a detective who plans the perfect crime, in-
criminating his wife's lover, Otto Kruger does a
splendid job. Karen Morley, Nils Asther score, too.
Holds interest every minute. (May)

CRIMINAL AT LARGE— Helber Pictures —
Edgar Wallace's exciting mystery. All about strange
happenings at the old castle of the Lebanon family.
(March)

CROSS COUNTRY CRUISE — Universal. —
Another transcontinental bus trip, the passengers this
time being Lew Ayres, June Knight, Arthur Vinton,
Alan Dinehart, Minna Gombell and Alice White.
Good comedy. (March)

Photoplay Magazine for June, 1934

DANCE, GIRL, DANCE— Invincible.— Dancer
Evalyn Knapp can't get along with vaudeville
partner-husband Edward Nugent. But when she
clicks in a night club, they make up. Entertaining.
(Jan.)

• DANCING LADY— M-G-M.— A backstage
musical with gorgeous settings, lovely girls,
novel dance routines, some good song numbers, a
real plot and a cast of winners, including Joan Craw-
ford, Clark Gable, Franchot Tone, Fred Astaire.
(Feb.)

• DAVID HARUM — Fox. — Same old Will
Rogers, this time as a small town banker who
goes in for horse trading on the side. Some of the
trades will have you in stitches. Evelyn Venable
and Kent Taylor. (May)

DAWN TO DAWN — Cameron Macpherson Prod.
— With little dialogue, this film of the plains depends
entirely upon the dramatic interpretation of its char-
acters— Julie Haydon, Frank Eklof, Ole M. Ness —
for its success. (March)

DAY OF RECKONING, THE— M-G-M.—

Richard Dix, Madge Evans, Conway Tearle, below
par in an ancient tale of an embezzling cashier and a
double-crossing friend. (Dec.)

• DEATH TAKES A HOLIDAY— Paramount.
— As Death, who mingles with guests at a house
party, and finds love with Evelyn Venable, Fredric
March is superb. Grand supporting cast. (April)

DER SOHN DER WEISSEN BERGE (THE
SON OF THE WHITE MOUNTAINS)— Hala
Film. — Luis Trenker, skiing hero, and cast do good
work. But the gorgeous Alpine views run away with
this German-made film. (Jan.)

• DESIGN FOR LIVING — Paramount.— Noel
Coward's unconventional stage play of a
triangle, involving two men (Fredric March and
Gary Cooper) and a woman (Miriam Hopkins).
Excellent. Sophisticated. (Jan.)

DEVIL TIGER— Fox.— Thrilling experiences of
Harry Woods, Kane Richmond and Marion Burns in
the Malay jungle, as they set about capturing the
man-eating Devil Tiger. (April)

• DUCK SOUP— Paramount. — The Four Marx
Brothers get mixed up in a revolution in a
mythical country — and boy, how they get mixed up!
A riot of fun. (Jan.)

EASY MILLIONS— Freuler Film.— A fine mix-up
when "Skeets" Gallagher finds himself engaged to
three girls at the same time. Johnny Arthur is his
professorish roommate. Good supporting cast. (Feb.)

EASY TO LOVE— Warners.— Light entertain-
ment with Adolphe Menjou, Genevieve Tobin, Mary
Astor and Edward Everett Horton in an amusing
marital mix-up. (April)

EAT 'EM ALIVE— Real Life Pictures. — A nature
drama about snakes and gila monsters. Perhaps a
bit too gruesome for women and children. (Feb.)

EMPEROR JONES, THE— United Artists.—
The great Negro actor Paul Robeson, in a filming of
his phenomen il stage success about a Pullman porter
who won rulership of a Negro republic. (Dec.)

ESKIMO — M-G-M. — A gorgeous picture of life in
the Arctic, and Eskimos tangling with white man's
law. Eskimo actors; a treat for all who like the un-
usual. (Dec.)

EVER IN MY HEART— Warners.— Barbara
Stanwyck in a too-horrible tale about persecution of
herself and hubby Otto Kruger as German-Americans
during the World War. (Dec.)

EVER SINCE EVE— Fox.— Gold digger Mary
Brian causes all sorts of complications for mine
owners George O'Brien and Herbert Mundin. Lots
of laughs. (April)

FAREWELL TO LOVE— Associated Sound Film.
— Especially for those who enjoy Italian opera airs.
Jan Kiepura, tenor, and Heather Angel do the best
possible with their roles. (Feb.)

\+++++++++++++++++++*++++*+++++++++**+***+*++*-++++**-\

NOW-
EIGHT

BEAUTIFUL
COLOR

PORTRAITS
of Popular
Film Stars

Now EIGHT — for only 15 cents

Not ordinary pictures, but attractive reproductions made from
the original color pastelles by Earl Christy.

We have selected eight poses like those illustrated and have
reproduced them in color on good quality stock. Sheet size
of each picture 5%"x4%". They will be supplied unmounted
suitable for framing or mounting in your collection book.

This choice selection includes the following stars

GRETA GARBO NANCY CARROLL JOAN BENNETT

JANET GAYNOR

NORMA SHEARER

HELEN HAYES

RUBY KEELER

CLAUDETTE COLBERT

Eight pictures now
for only 15 cents

WALT PRODUCTS

155 E. Walton Place
CHICAGO. ILL.

MAIL THE COUPON NOW

WALT PRODUCTS.
155 E. Walton Place,
Chicago, III.
Gentlemen :

Enclosed please find 15 cents for which
send me the eight portraits of movie stars
printed in color, as per your advertise-
ment.

Name

Address

City

State P H-6-34

L^^************************************************!

WITHOUT
GLASSES

THE NATURAL
EYESIGHT SYSTEM Gives
Your Eyes a New Deal

If you wear glasses, or think you should, our
FOUR MONTHS' TRIAL OFFER— containing
the inspiring story of glasses discarded for
Nearsight, Farsight, Astigmatism, Old Age
Sight. Eyestrain, Weak Eyes, Eye Muscle
Trouble, Etc., as told by USERS AT HOME
of this Revolutionary System— will be mailed
FREE upon request.
NATURAL EYESIGHT INSTITUTE. Inc.

Dept. 46-W

Santa Monica, Calif.

Mercolized Wax

Keeps Skin Young

It peels off aged skin in fine particles until all defects
such aa tan, freckles, oillness and liver spots dis-
appear. Skin ia then soft, clear, velvety and face
looks years younger. Mercolized Wax brings out
your hidden beauty. To remove wrinkles quickly
dissolve one ounce Powdered Saxolite in one-half
pint witch hazel and use daily. At all drug stores.

TAP DANCING MADE

EASY

EARN
MONEY

on STAGE or
TEACHING

My simplified, easy-to-learn, HOME STUDY
COURSE prepares vou to become a profession:.!
in surprisingly shorl time. New. thorough, com-
plete method. You can become a tootlight
star and earn money teaching others while
you learn. Write at once tor FREE DE-
TAILS—no obligation — to Dept. A.

T_ J i^--.-— Green Dancing &
e<3 Oreen Dramatic School
1951 Lawrence Ave., Chicago, III.

in purse. Holds one dram per-
fume. Will not spill or evaporate.
Each spray less than a drop — no
waste. Send stamps, check or
money order TO-DAY

MAXINE SPRAY CO., 313 6th Ave., Pittsburgh, Pa.

See the UNUSUAL OFFER

on Page 124, this issue, which will
bring you Photoplay Magazine for a
short term at a special reduced rate.

WHEN you visit New York
enjoy the comforts of an ideal
home and still be in the heart of
the Motion Picture Art Centre.

Parlor with Bedroom and Bath
$C00 PER DAy FOR

* — ONE OR TWO
$125.00 per month

Largest Slnrlf

Boom Id S3 QfJ

New York J"'v

FEB DA*

'or this Beautiful 2-Room Suite.
3-Room Suites in proportion.

All rooms equipped with radio,
combination tub and shower bath
and running ice water. Ideal
location — adjacent to shopping,
business and theatre districts.

Swimming Pool and Gymnasium
FREE to Guests.

Write for details. Telegraph reservations
(Collect)

ENJOY NEW YORK'S

COCOANUT GROVE
AND TIC TOC CLUB

<fc£*j©rtral

56th St. at 7th Ave.
New York City

Photoplay Magazine for June, 1934

• FASHIONS OF 1934— First National.—
Scheming the foremost designers out of ex-
clusive models, William Powell, with the aid of Bette
Davis, and Frank McHugh, comes through with as
clever a presentation as you have yet seen. (March)

FEMALE— First National. — Ruth Chatterton,
who toys with men in her own motor company, melts
before George Brent. Chatterton fine. (Jan.)

FEROCIOUS PAL— Principal Pictures.— Pretty
amateurish work by entire cast, except Kazan, a
German shepherd dog, who is an actor. (May)

FOUND ALIVE— Ideal Pictures.— A dull yarn
which has for its locale the jungles of the Rio Grande,
where divorcee Barbara Bedford hides out with her
son. Good animal shots. (May)

FOUR FRIGHTENED PEOPLE— Paramount.—

The experiences of Claudette Colbert, Herbert Mar-
shall, William Gargan and Mary Boland, lost in the
Malay jungle. Leo Carrillo is their guide. Unusual.
(March)

FROM HEADOUARTERS— Warners.— A grip-
ping murder mystery, showing real police methods for
a change. (Dec.)

FRONTIER MARSHAL— Fox.— George O'Brien
as a "dude" marshal in a Western town. Ruth
Gillette does a Mae West impersonation. Well
worth your time. (Feb.)

GAMBLING LADY— Warners.— Barbara Stan-
wyck gambles her way into the heart of Society, Joel
McCrea. She's on the level, but finds that Claire
Dodd, Joel's old flame, is not. Pat O'Brien. Fair.
(May)

• GEORGE WHITE'S SCANDALS— Fox.— A
gay, lively, singing, dancing show with Rudy
Yallee and Alice Faye as "Scandals" stars. Adrienne
Ames, Cliff Edwards, Jimmy Durante do nice work.

(May)

GHOUL, THE— Gaumont British.— Not nearly
up to the standard of former Boris Karloff chillers.
Audiences are apt to be amused when action is in-
tended to be most terrifying. (April)

GIRL IN THE CASE, THE— Screen Art Prod.—
Dr. Eugen Frenke's (husband of Anna Sten) initial
American production is pretty dull fare. Jimmy Savo
and Dorothy Darling. (April)

GIRL WITHOUT A ROOM— Paramount.—
Charles Farrell, Marguerite Churchill and Charlie
Ruggles in a picture that kids the pseudo-art racket
in Paris. Light entertainment. (Feb.)

• GOING HOLLYWOOD — M-G-M. — In
which Bing Crosby displays real acting ability,
and sings some grand songs. Marion Davies was never
better. Stuart Erwin, Fifi Dorsay. Colorful en-
sembles, gorgeous clothes. Well done. (March)

GOLDEN HARVEST — Paramount. — Farmer
Dick Arlen grows wheat; brother Chester Morris is a
Board of Trade broker; a farmers' strike brings the
climax. A strong film. (Dec.)

GOOD COMPANIONS, THE— Fox-Gaumont-
British. — A mildly pleasing English tale of trouping
in the provinces. (Dec.)

GOODBYE LOVE — RKO-Radio. — Charlie

Ruggles in a would-be comedy that's really a messy
mixture of unsavory material. (Dec.)

GOOD DAME— Paramount.— The romance of
good little Sylvia Sidney and carnival wise-guy
Fredric March is a hectic affair. Photography, dia-
logue and cast fine. (April)

GUN JUSTICE — Universal. (Reviewed under
the title "Rider of Justice.") — Ken Maynard shows
up in the nick of time to save the pretty girl's ranch
in Arizona. The same old hokum. (Jan.)

HAROLD TEEN— Warners.— Screen translation
of Carl Ed's famous high school comic strip. Hal
LeRoy as Harold, and Rochelle Hudson as Lillums
are perfect. Patricia Ellis. (May)

• HAVANA WIDOWS— First National.— Joan
Blondell, Glenda Karrell and Guy Kibbee in a
rollicking comedy. A climax that will tickle your
risibilities. Good fun. (Jan.)

HEAT LIGHTNING — Warners. — Comedy-
drama — comedy supplied by Glenda Farrell, Frank
McHugh, Ruth Donnelly; drama by Aline Mac-
Mahon, Ann Dvorak, Preston Foster, Lyle Talbot.
(May)

HE COULDN'T TAKE IT— Monogram.— Pals
Ray Walker and George E. Stone get mixed up with
gangsters in a highly amusing comedy concoction.
Virginia Cherrill. (Feb.)

HELL AND HIGH WATER— Parmount— Dick
Arlen, owner of a garbage scow, falls heir to a baby
and a girl (Judith Allen) at the same time. Dick
fine; story poor. (Jan.)

HER SPLENDID FOLLY— Hollywood Pictures.
— Generally speaking, this is pretty poor. Lilian
Bond plays the role of double for a movie star.
Alexander Carr is a producer. (Feb.)

Photoplays Reviewed in the
Shadow Stage This Issue

Save this magazine — refer to the criticisms before you pic\ out
your evening s entertainment. Make this your reference list.

Page

All Men Are Enemies — Fox 55

Ariane — Pathe-Cinema Prod 121

Born To Be Bad — 20th Century-United

Artists 57

City Limits — Monogram 121

Cross Streets — Chesterfield 121

Finishing School — RKO-Radio 56

Glamour — Universal 55

Hired Wife — Pinnacle Prod 121

Hold That Girl— Fox 56

Hollywood Party— M-G-M 55

I'll Tell the World— Universal 56

Manhattan Love Song — Monogram. . .121

Melody in Spring — Paramount 54

Modern Hero, A — Warners 121

Page

No Ransom — Liberty 121

One Is Guilty — Columbia 57

Quitter, The— Chesterfield 121

Side Streets — First National 57

Stand Up and Cheer — Fox 54

3 on a Honeymoon — Fox 57

Trumpet Blows, The — Paramount. ... 56
Twenty Million Sweethearts — First

National 56

Upperworld — Warners 57

Very Honorable Guy, A — First National 56

Voice in the Night — Columbia 121

Wild Cargo— RKO-Radio 54

You're Telling Me — Paramount 57

Photoplay Magazine for June, 1934

HI. NELLIE!— Warners.— Paul Muni splendid as
Managing Editor demoted to Heart Throb Depart-
ment for muffing story. Fast action, suspense, humor
make t It is a movie headliner. Glenda Farrell, Ned
Sparks. (April)

HIPS, HIPS, HOORAY— RKO-Radio.— Money
disappears and two fakers. Wheeler and Woolsey. in
partnership with Thelma Todd and Dorothy Lee,
leave town by way of a cross country auto race.
Good music and dancing. (March)

HOLD THE PRESS— Columbia.— This time
Tim McCoy is a newspaper man. He has exciting
times trying to expose a group of racketeers, and in
the end he does. Good suspense. (Feb.)

HONOR OF THE WEST— Universal— A novel
Western, with Ken Maynard in a dual role, and thrill-
ing us as he rides after Fred Kohler, on his horse
Tarzan. Cecilia Parker. (May)

HOOPLA — Fox. — Clara Bow as a carnival dancer.
Love interest, Richard Cromwell, whom Clara is
paid to ramp — and does she like it? Story so-so.
(Jan.)

HORSE PLAY— Universal.— Cowboys Slim Sum-
merville and Andy Devine go to England with a
million dollars, just in time to save pretty Leila
Hyamsfrom jewel thieves. Just so-so. (Feb.)

• HOUSE OF ROTHSCHILD, THE — 20th
Century-United Artists. — The impressive, his-
toric tale of five brothers who become money powers
of Europe. George Arliss at his best as leader.
Loretta Young and Robert Young play a tender
Jewish-Gentile romance obligate (May)

*I AM SUZA N NE !— Fox.— Lilian Harvey at her
best opposite Gene Raymond, a puppeteer, in a
brand-new type of entertainment. You'll enjoy
watching the performance of the marionettes in this
charming romance. (March)

I BELIEVED IN YOU— Fox— Rosemary Ames"

film debut in story of girl who learns what fakers
artist friends Victor Jory, Leslie Fenton, George
Meeker are, through John Boles. (May)

I LIKE IT THAT WAY— Universal.— Forever on
the lookout for young sister Marian Marsh. Roger
Pryor is quite surprised when she unmasks his good
girl fiancee Gloria Stuart as a gambling club enter-
tainer. Fair. (March)

• I'M NO ANGEL.— Paramount.— It's Mae
West, and how! Sizzling, wise-cracking. This
one simply wows audiences. There's Cary Grant, but
Mae's all you'll see. (Dec.)

INTRUDER, THE— Allied.— Murder at sea. and
suspects shipwrecked on desert island inhabited by a
crazy Robinson Crusoe. Monte Blue, Lila Lee,
Arthur Housman try hard. (May)

INVISIBLE MAN, THE— Universal.— Shivery,
this H. G. Wells tale, in which newcomer Claude
Rains makes himself invisible — and then loses his
reason. A creepy, but compelling picture. (Jan.)

I'VE GOT YOUR NUMBER— Warners.— Tele-
phone repair men Pat O'Brien and Allen Jenkins,
hello girl Joan Blondell keep things moving along.
Glenda Farrell, Eugene Pallette. (April)

I WAS A SPY— Fox-Gaumont British.— Allies
Herbert Marshall and Madeleine Carroll, as nurse and
doctor in enemy hospital, do nice work in good spy-
story. Conrad Veidt. (April)

JIMMY THE GENT— (Reviewed under title
"Always a Gent")— Warners. — His followers will like
Jimmy Cagney as a legal sharpshooter engaged in the
"lost heir racket." Bette Davis, Allen Jenkins, Alice
White. (May>

PERMANENTLY DESTROYS HAIR

Never before have I offered so per-
sonal a service— and right in your own
home ! Instead of coming to my Salon
for treatment, you can now purchase
everywhere a complete ZIP Kit for
only $1.00.

Today, ZIP is the only Epilator
available for actually destroying hair
growths, by removing the cause. Test-
ed over a period of twenty years, ZIP
has been used by thousands of women

for effectually destroying hair on the
face, arms, legs and underarms. So
simple. So quick. ZIP leaves no trace
of hair above the skin ... no prickly
stubble later on ... no dark shadow
under the skin. That is why so many
screen stars and noted Beauty Special-
ists recommend ZIP.

Pleasant to use, and delightfully
fragrant. ZIP acts immediately and
brings lasting results.

Treatment or Free Demonstration at my Salon

And if you prefer a cream depilatory use

jMiJHnZiPiaaBMi

As delightful as your choicest cold cream

The quickest and easiest way to apply liquid deo-
dorant. New formula in a beautiful atomizer bottle,
ZiP Spray Deodorant checks perspiration, 50c.

At last, a physician's prescription for eliminating
odors. This delightful cream, applied with finger
tips, acts immediately. Fascinating carved wood
container, 35c, 50c. All good stores or by mail.

ZIP

PATENT PENDING

Madame Berthe, Specialist, 562 Fifth Avenue, New York City 6-E

Enclosed find $ Please send items checked.

□ $1.00 ZIP Epilator Kit □ 50c ZiP Depilatory Cream D 50c ZiP Spray Deodorant □ 35c or 50c ZiP Cream Deodorant

Name

Address City& State

Photoplay Magazine for June, 1934

JLfffa Xest

for

Hollywood

OFFICIAL RULES

See Advertisement
on Opposite Page

1. Contest begins May 1 and ends
September 15, 1934. Mail all
snapshots to Agfa, 6331 Holly-
wood Boulevard, Hollywood,
California, on time for their
receipt not later than midnight
September 15, 1934.

2. Enter as many snapshots as you
wish of the same person. Sug-
gested poses: full-face; three-
quarter view; profile; full-length.

3. On back of each snapshot, print
full name and address of person
photographed (the entrant) -.also
name and address of dealer from
whom films are purchased.

4. Include with each entry: Two
Agfa roll film cartons or one
Agfa 16mm. carton or approxi-
mate hand-drawn facsimiles. An
entry consists of one or more
snapshots of the same person
sent in at the same time.

5. No entries will be returned. All
pictures are mailed at owner's
risk. Do not send negatives.

6. Semi-final selection of twenty-
five entrants for regional screen
tests will be made by Agfa Cast-
ing Director, who will notify
each by telegram.

7. Committee of Hollywood Di-
rectors and Stars will select five
from the regional winners. These
five will be given a free round-
trip to Hollywood for final sound
and screen tests.

8. From these five the Judges will
select the winner who will re-
ceive guaranteed movie contract.

9. Twenty-five Ansco Movie Cam-
eras will be awarded for snap-
shots of outstanding photo-
graphic excellence — all subjects.

10. Decisions of Judges are final.

11. Winners agree to give Agfa
Ansco Corporation permission
for the use of their pictures for
publication purposes, if so re-
quested.

12. Any resident of the United States
or Canada is eligible, except in-
dividuals in the employ of the
Agfa Ansco Corporation, or
members of their families.

G RAY

FADED

HAIR

Men, women, girls with gray, faded, streaked hair. Shampoo
and color your hair at the same time with new French dis-
covery "Shampo- Kolor," takes few minutes, leaves hair
soft, glossy, natural. Does not rub off. Free Booklet.
Monsieur L. P. Valligny, Dept.43. 2S4 W. 31st. St., N.Y.

JOURNAL OF A CRIME— Warners.— A splen-
did psychological study of a woman who has killed
her rival, Claire Dodd, in order to hold husband,
Adolphe Menjou. Drama with strong feminine
appeal. (May)

KADETTEN (Cadets)— Reichsligafilm Prod —
An unwilling student at military school (Franz
Fiedler) dedicates many musical compositions to his
voung stepmother, Trude von Molo. German, with
English titles. (.March)

KEEP 'EM ROLLING— RKO-Radio.— A man,
his horse and the bond existant between them.
Walter Huston's devotion to Rodney through war
and peace. Frances Dee, Minna Gombell. {April)

KENNEL MURDER CASE, THE— Warners.—
William Powell in another Philo Vance murder mys-
tery; smoothly done and entertaining. (Dec.)

KING FOR A NIGHT— Universal.— Chester

Morris, a swell-headed, though likable prize-fighter,
stands the consequences for something sister Helen
Twelvetrees has done. Exciting. (Jan.)

LAZY RIVER— M-G-M — Old-fashioned melo-
drama, but pleasing just the same. Robert Voung
plans to rob Jean Parker, but falls in love with her
instead. Locale, Louisiana bayous. (May)

LEGONG — Bennett Picture Corp.— Island of Bali
is locale of this film venture of Marquis de la Falaise.
Odd rituals of native cast provide rare entertainment.
Technicolor. (April)

LET'S BE RITZY— Universal.— After a marital
fuss, love conquers for Patricia Ellis and Lew Ayres.
Robert McWade's characterization highlights the
film. Frank McHugh, Isabel Jewell. Fair. (May)

LET'S FALL IN LOVE— Columbia— Director

Edmund Lowe's fake Swedish film find (Ann Sothern)
goes over with Producer Gregory Ratoff until Lowe's
fiancee Miriam Jordan tips him off. One good tune.
See this. (March)

• LITTLE WOMEN— RKO-Radio.— This clas-
sic is exquisitely transferred to the screen.
Katharine Hepburn, as Jo is sky-rocketed to greater
film heights. Joan Bennett, Frances Dee and Jean
Parker, as Jo's sisters, give spendid performances.
(Jan.)

LONE COWBOY— Paramount.— Without Jackie
Cooper there wouldn't be much of a picture. Jackie's
sent West to comfort his dead father's pal embittered
by his wife's (Lila Lee) faithlessness. (Jan.)

LONG LOST FATHER— RKO-Radio.— Quite
amusing, but story not up to John Barrymore's
standard. Helen Chandler is adequate as actress
separated from father since childhood. (May)

LOOKING FOR TROUBLE— 20th Century-
United Artists. — Spencer Tracy and Jack Oakie, tele-
phone trouble shooters, take you through blizzards,
earthquakes and fires. Constance Cummings and
Arline Judge supply love interest. Good fun. (April)

• LOST PATROL, THE— RKO-Radio— When
relief arrives, all but one man (Victor McLag-
len) of this desert patrol have been shot down by
Arabs. Excellent dramatic performances by Boris
Karloff and supporting players. (April)

LOVE BIRDS — Universal. — Amusing comedy,
especially for Slim Summerville-ZaSu Pitts followers.
Mickey Rooney adds to the fun. (April)

LUCKY TEXAN — Monogram. — A Western with
murder, intrigue, romance in addition to usual hard
riding. John Wayne, Barbara Sheldon and George
Hayes doing fine characterization. (April)

MAN OF TWO WORLDS— RKO-Radio.— After

his New York stage success, Francis Lederer should
have had a stronger vehicle for his initial American
screen appearance. It's the story of an Eskimo
brought to civilization. Elissa Landi. (March)

MANDALAY — First National. — Poor story ma-
terial for Kay Francis, miscast as shady lady, and
Ricardo Cortez. However, Rangoon and Mandalav
atmosphere perfect. Lyle Talbot. (April)

MAN'S CASTLE— Columbia.— A deeply moving
tale of vagabond Spencer Tracy and his redemption
by Loretta Young's love. (Dec.)

MASTER OF MEN— Columbia.— Both the plot
and the dialogue are old. But there's a good cast,
including Jack Holt, as the mill hand who rises to
financial power; Fav Wrav, his wife; Walter Con-
nolly, Theodore Von Eltz, Berton Churchill. (Feb.)

MEANEST GAL IN TOWN, THE— RKO-
Radio. — A capable group of comedians, including El
Brendel. ZaSu Pitts, "Skeets" Gallagher, Jimmy
Gleason and Pert Kelton, make this worth-while
entertainment. (March)

MEET THE BARON— M-G-M.— Jack Pearl's

film version of his radio nonsense about Baron Mun-
chausen. Grand support; often hilarious. (Dec.)

*MEN IN WHITE— M-G-M— Torn between
difficult scientific career and easy medical prac-
tice with love of Myrna Loy, Clark Gable does a re-
markable acting job. Elizabeth Allan, Jean Hersholt,
Otto Kruger merit praise. (April)

MIDNIGHT — Universal. — Sidney Fox turns in
an excellent performance in this morbid drama from
the Theatre Guild play. Good cast. (May)

MIDSHIPMAN JACK— RKO-Radio.— A color-
ful story of Annapolis and a careless midshipman who
makes good. Bruce Cabot, Betty Furness, Frank
Albertson, others. (Dec.)

• MISS FANE'S BABY IS STOLEN— Para-
mount.— A powerful, thrilling presentation of
the kidnaping menace, with Dorothea Wieck as Baby
LeRoy's mother. Alice Brady, Jack LaRue. Excel-
lent suspense. (March)

MR. SKITCH— Fox.— The trip West in the
family rattler of Mr. and Mrs. Skitch (Will Rogers
and ZaSu Pitts) provides laughs galore. Florence
Desmond's impersonations are grand. (Feb.)

MURDER ON THE CAMPUS— Chesterfield —
A worn murder plot with college setting. Police re-
porter Charles Starrett, in love with suspect Shirley
Grey, solves the mystery. (April).

MY LIPS BETRAY— Fox.— A musical comedy
kingdom in which cabaret singer Lilian Harvey falls
in love with king John Boles, and is loved by him.
El Brendel. Fair. (Jan.)

MYSTERY LINER— Monogram.— Poor acting,
with exception of Noah Beery 's performance, in this
murder mystery which has for its locale a radio-con-
trolled ship at sea. (April)

• MYSTERY OF MR. X— M-G-M.— Gripping
mystery centering around thief Robert Mont-
gomery, also suspected of being the killer, Mr. X.
Lewis Stone, Elizabeth Allan, Ralph Forbes. (May)

• MY WEAKNESS— Fox.— Lilian Harvey as a
Cinderella coached by Lew Ayres to catch his
rich uncle's son, Charles Butterworth. Charles is a
riot. (Dec.)

MY WOMAN— Columbia.— Wally Ford gets a
radio break when his wife, Helen Twelvetrees, vamps
Victor Jory into the idea. But success goes to Wally's
head; he loses his job — and his wife. (Jan.)

• NANA— Samuel Goldwyn-United Artists-
Anna Sten, exotic Russian beauty, makes an
impressive debut on the American screen as Nana in
Zola's classic. Richard Bennett, Mae Clarke,
Phillips Holmes, Lionel Atwill. (March)

NINTH GUEST, THE— Columbia.— Eight per-
sons party with a mysterious ninth guest — Death.
Suspense is well sustained. Donald Cook, Genevieve
Tobin, Vince Barnett. (May)

[ PLEASE TURN TO PAGE 119 ]

Photoplay Magazine for June, 1934

HOLLYWOOD

ou.

Here is your chance to get into the movies.
Holly woodDirectors want newStars. Studio
"scouts" are hunting new faces, new types.
Snapshots of men, women, boys, girls,
children are wanted. Directors will study
them for movie possibilities! YOUR pic-
ture is wanted! If you are "different," if
you are "unusual," if you are "REAL,"
Hollywood is anxious to study your type.

6 HOLLYWOOD
AWARDS

1. A GUARANTEED contract
in the movies.

2. Five Hollywood tours; all
expenses paid; screen tests;
meet Directors and famous
stars.

3. Twenty-five expense-paid
regional screen tests for
Hollywood.

4. Twenty-five Ansco Movie
Cameras for photo excel-
lence^— all subjects.

5. Your snapshot made avail-
able to Hollywood Di-
rectors looking for new
talent.

6. Personal Casting Report
for every entrant in Agfa
Test.

Guaranteed Job in Movies

Winner of "Agfa Test for Hollywood" will receive guaranteed
movie contract in feature picture with famous stars in Mono-
gram Pictures. Win publicity, fame and a chance for Stardom.
Other amazing awards: Hollywood Tours — Regional Screen
Tests — Movie Cameras — Personal Casting Reports!

Clear prints are wanted. Use Agfa Film for your snapshots.
Accurate light and shade are necessary. Agfa Film ''catches
personality." Insure good pictures with Agfa Plenachrome, the
high-speed, "all-weather" film. Agfa, America's finest film, is
guaranteed: "Pictures that satisfy or a new roll free!"

Ask for

Send in your snapshots immediately. Everyone wins casting
report.

Do this ...

Go to your film dealer today. Get free copy of official rules or
see opposite page of this issue. For better pictures use Agfa Film
— Comes in all popular sizes. Have snapshots taken and mail
them at once to Agfa, 6331 Hollywood Boulevard, Hollywood,
California.

FURTHER INFORMATION— SEE YOUR AGFA DEALER
FREE CONTEST BULLETIN

Guaranteed: — ^Pictures that
satisfy or a new rolt free"

i8
ii

Photoplay Magazine for June, 1934

We have to have
or we lose our jobs"

LOVELY TEETH

Lustrous white teeth may not be
essential to your livelihood — yet
surely you want your teeth to be as
attractive as possible.

So — take a hint from those who
make a business of beauty. Scores of
lovely models have changed to Lis-
terine Tooth Paste. They find that
this modern dentifrice gives a higher

lustre, more sparkle and brilliance
to tooth enamel!

Due to its effective polishing
agent, Listerine Tooth Paste not
only makes teeth shine, but less
brushing is required. Film and dis-
coloring stains disappear with sur-
prising speed. Yet the polishing
agent is soft. It cannot possibly
scratch or harm the enamel in any
way.

No matter how dull your teeth,
see how Listerine Tooth Paste helps
them. Learn how pleasantly refresh-
ing this dentifrice tastes — how much
better your gums look and feel fol-
lowing its use. ■*

Listerine Tooth Paste costs only
25^ for the regular-size tube — a fact
which has led millions of persons to
use it instead of more expensive
brands. Now the new 40^ size, con-
taining twice as much, permits an
even greater saving. We are con-
fident that if you try one tube —
either size — you will remain a steady
user. Lambert Pharmacal Company,
St. Louis, Mo.

{top) MARTY ANDERSON you can often
meet just by turning the pages of any
leading magazine. She is a Dallas girl
whose charm has won New York photo-
graphers. Her teeth have the necessary
sparkle and brilliance.

(left) JANICE JARRETT of San Antonio
(that's two from Texas!) is one of New
York's most popular models. You can
see what an important part her white
teeth play in enabling her to photograph
attractively.

LISTERINE
TOOTH PASTE

REGULAR SIZE O CT ^

NEW DOUBLE SIZE

The chance remark of an
utter stranger, to the effect
that she was pretty as a
picture, led LENORE PETTIT
of New York City, to forsake
the business world and take
up the career of modeling.

Grimes

ELIZABETH ALLAN has a hard time keeping all three of them
happy. She stops to pet the one, and what happens? Why Sandy,
the horse, shows his teeth in 'a jealous rage, and the little dog, feeling
sadly neglected, takes on a woebegone air. An excellent horsewoman,
Miss Allan is fond of animals, and all of these get plenty of attention

>^ " >

**+'

Eugene Robert Richee

THE princess looks unhappy! Even with Mae West's ex-boy
friend trying to get her in a good humor. Maybe the thirty days
are almost up ! Or maybe an air of dejected disinterest is a brunette's
way of vamping. Anyhow, Cary Grant is falling. Bet in another minute
Sylvia Sidney will smile. They're teamed in "Thirty Day Princess"

Irving Lippman

AFTER a bang-up successful season on Broadway in "The Curtain
Rises," Jean Arthur is back in Hollywood. While most screen
stars get their dramatic training on the stage first, Jean did just the op-
posite. She began in movies, then left Hollywood for New York stage.
Jean has the lead in Columbia's, "The Most Precious Thing in Life"

Elmer Fryer

PORTRAIT of a movie actress who comes home, tired after a long
day's work, and settles down with a good book, only to look up
into the lens of another camera ! But that's success. And Genevieve
Tobin's latest is "Success at Any Price.1' So she accommodates the
photographer. Warners loaned Miss Tobin to RKORadio for this film

By
Kathryn Dougherty

KATHARINE HEPBURN'S professional and private orbit is as
erratic as that of a runaway meteor. Her trip to Europe has been
called a "flight." Her unexpected return is diagnosed an "impulse." Inti-
mations are not lacking that her mediocre characterization in the stage play "The
Lake" and her none too great success in her latest film "Spitfire" may have
shunted her into another erratic course.

She is alleged to be disgruntled because her contract company would not let her
make personal appearances in the theaters of another producing organization. She
seems to feel the sting of these several reverses. If so, Hepburn is extremely sensi-
tive. Her public of the silver screen is so vast and so adoring that any one or all
of these minor skirmishes would be forgotten in a day.

AT the present moment the script for a new screen play, "Joan of Arc," is being
written for her. The part should prove a pat one for her remarkable talents.
Yet she looks longingly toward success on Broadway — a success that even if
achieved could never measure up to what the screen has already given her and what
it still holds for her. But Hepburn's fragile figure houses a boundless ambition that
will be neither brooked nor checked. Perhaps if she were otherwise she would not
be the Great Katharine we know.

YOU can't down a "bad man" actor if he has made good at the role. George
Raft, after a turn in "Bolero" and "The Trumpet Blows," will, as his next —
if present plans are kept — play the part of a great gunman. Lucky the actor who
finds a role that types him with the approval of the public.

Raft did the trick with "Scarface" and his producing company is wise in con-
templating returning him to the underworld. Yes, he proved his versatility in
"Bolero" and "The Trumpet Blows," but why should any actor be obliged to stake
his hard-earned fame in a succession of varied characterizations?

IT isn't often that part of an actor's private life becomes part of a picture — espe-
cially that of such an artist as George Arliss — but here's a true story about just
such a thing. In 20th Century's epic, "The House of Rothschild," the lapel-
flower incident which runs through the story has its counterpart in the life of Mr.
and Mrs. Arliss.

In fact, Arliss himself is responsible for injecting the touch in the picture.
Director Alfred Werker wanted something to symbolize the enduring romance
between Nathan Rothschild and his wife.

"Why not something like this," Arliss suggested, and then went on to tell how

Mrs. Arliss, throughout their married life, has always symbolized their affection by
a flower. Every morning she puts a flower in his lapel, and on the only day that
she forgot to pin it, everything went dead wrong!

A CERTAIN lady tourist who managed to get inside Columbia Studios and
chat with John Barrymore, even more, to walk away with his autographed
picture, still doesn't believe that it was all on the level.

John, in make-up with a beard and flowing moustache for his part in "Twentieth
Century," looked at least sixty in the sequence in which he appears disguised as a
Kentucky colonel. He suddenly decided to act the part off screen.

"Ah shuah am mighty pleased to meet you-all," said John with all the gravity
of the Mason-Dixon line.

And the lady from Iowa, expecting a dashing young blade quoting "Hamlet" all
over the set, whispered to her companion, "You don't' suppose it's really Vince
Barnett and he's ribbing me. do you?"

WHEN the Richard Arlens sailed for Europe, they took with them trunkloads
of milk and vegetables for baby Richard Ralston. The milk was pasteur-
ized, evaporated. The vegetables cooked and sealed in jars.

Mama and papa Arlen could enjoy French cuisine — but it was plain American
food for Richard Ralston on his first trip abroad.

WILL ROGERS has never been known to pull his punches.
At the recent Academy Award dinner, the prophet of Fox Movietone City
tossed big executives, stars, artists and what not on his griddle and roasted them to
a turn.

He even took a crack at the industry itself.

"It's a racket," said Will; "if it wasn't, we all wouldn't be here in dress clothes."

And commenting on the fearsome sound of the Academy's full title. "Academy
of Motion Picture Arts and Sciences." Will said:

"If the movies are an art, I kinda think it'll leak out somehow without bein' told;
and if they're a science — then it's a miracle."

Will's wit changed the big affair from a customary ceremony of long-winded
speeches into a joyous riot.

DO you know how that little braid business all the girls are wearing was
started? Joan Crawford was rehearsing a dance number. Her hair kept
getting in her eyes, so she grabbed a bunch and wove it into a braid. The dancing
girls on the set followed suit. Pretty soon, half the girls in Hollywood were in
braids, and now the fad has spread.

ANOTHER DeMille yarn has come along which fades all the others into the
background. It seems that now, after his dinner parties, C. B. has two silver
bowls passed around his table, filled with jewelry of all kinds, for his guests to choose
a present. One bowl is for the men and one for the women. And invariably Cecil
slips in one or two priceless unset diamonds or rubies and always, he says, the ladies
choose jade beads, wrist watches and similar trifles and allow the unset gems to
remain in the bowl.

The custom, he says, originated at the banquets of Antony and Cleopatra. Like
the famous Egyptian queen, he feels it is a gracious gesture to his guests.

Photoplay Magazine for June, 1934

** Two

wnose

future is
rosy if

was

hed

with p

ure

VORY

FLAKES

In New York, you'll find these two frocks
at Lord & Taylor's, the famous Fifth Avenue
store that's a godmother to American fash-
ions. And these were designed by Elizabeth
Hawes, one of America's finest!

They are made of Suavelle* a sleek silk
with a satiny stripe. This lush fabric has
been washed six times in the lukewarm
suds of Ivory Flakes — and after the sixth
washing looks as lovely as new! That's
the beauty of using Ivory Flakes — they're
quick melting curls of pure Ivory Soap-

so safe, that goodness knows why you'd
ever risk using any other soap flakes!

LEFT FROCK: as comfortable to wear as an easy
conscience... the collar buttons high or unbuttons
low . . . Elizabeth Hawes touch supplied by the
stitched corded belt that is fastened by silvery hard-
ware. Washes like a charm with pure Ivory Flakes!

RIGHT FROCK: no sense in calling this a tennis
frock when it can play all-around all day! Smart
girls will love the exciting shoulder chevrons . . .
the crisper one is made of colored duck. Tubs like
a handkerchief in lukewarm Ivory suds!

the famous New York store, says: "Wash these silk frocks with IVORY FLAKES

*REG. U. S. PATENT OFFICE

Elizabeth Bergner—
Puppet or Genius?

Is the star of "Catherine the Great" a timid but inspired artist,

a poseur, or a Trilby to her husband?

IS Elizabeth Bergner a Trilby in
the flesh? Or is this woman, whose
stardom blazed into international

brilliance when America acclaimed her portrayal of Cath-
erine in the motion picture "Catherine the Great," a genius in
her own right?

You remember Trilby in "Svengali." She was the young
creature who was nothing without her master. With him, she
was supreme. It was his power, his magnetic power, with
which he infused her and
made her a great artiste
by sheer influence of his
mind over hers.

You also know of the
case of Garbo and her
beloved Stiller, her first
director. When Stiller
died, Garbo cried out in
her anguish that she
could never act again.
She said her power was
gone, and her power was
Stiller. But recently,
Garbo has risen to
greater heights than ever
before. The reason?
Some say she has found
another Stiller in Rouben
Mamoulian, her present
director.

Is it a similar power,
an even greater power,
which Dr. Paul Czinner,
director and husband of
Elizabeth Bergner, has
over her?

Also like Garbo, Eliz-
abeth Bergner holds her-
self in seclusion, but a
seclusion far more re-
mote than Garbo's. Not
even film company ex-
ecutives, not even her
manager, may break it!
Why this protective
screen? Is it the com-
mand of a wilful genius
which some critics see in
Miss Bergner? In some
quarters it is said Miss
Bergner likes to have
her own way, and man-
ages to have it.

By Kathlyn Ha yd en

Or, is this seclusion a protective
screen behind which Dr. Czinner hides
his puppet? Because, in public, Eliza-
beth Bergner is abnormally self-conscious, temperamentally
nervous, and mute.

Which brings us right back to Trilby.

I will tell my experiences with her and let you judge whether
she is a genius or a mere marionette.

When " Catherine the Great" was put into production at the

The star of "Catherine the Great" is kept in complete seclusion by her husband. All scenes

are rehearsed privately with him until perfected. Then Elizabeth Bergner comes shyly on

the set. The sequence is shot, and she goes back into hiding

Elstree studio, I desired to interview Miss Bergner. Four
times I tried, and met with flat rebuffs. Then I went to
Charles B. Cochran, the noted British theatrical producer,
who is also Miss Bergner's manager.

He, I thought, would be the one man in all England who
could break down the Bergner barriers. For, tremendous
as the star's personal success was in " Catherine the Great."
her standing as an artist is not so firmly established as is
the preeminence of C. B. Cochran as a producer. "C. B."
at that time was about to present Miss Bergner in a stage
play called "Escape Me Never," which, at this writing, is
London's outstanding theatrical attraction.

I told Mr. Cochran I wanted the interview, that I was
going to tell the American public all about this new str.r,
about whom so little is known. No one in all
England appreciates more keenly than Cochran
the value of winning the approval of American
amusement-lovers. He assured me he would
move heaven and earth to persuade his star to
make an exception and grant me an interview.

DESPITE his earnest exhortations, Miss
Bergner remained adamant!
Eventually, however, a compromise was
agreed to. I was to be permitted to watch —
from a shadowy corner of the great stage —
Miss Bergner and her co-star, Douglas Fair-
banks, Jr., go through one of the big emotional
scenes of "Catherine the Great."

The set was extraordinarily large — a replica

Before the cameras, Elizabeth Bergner comes to life. In "Catherine the Great," she
is Catherine — a vibrant, magnificent woman of royal birth

Off screen Elizabeth is not
beautiful. She is shy and
afraid to meet people. Yet,
she has been a star of first
magnitude for a long
period

In this picture, taken on the set, Miss Bergner's husband, Dr. Czinner, stands pro-

tectingly at her side. On her right is Doug Fairbanks, Jr., and beside him, his father.

Alexander Korda, producer, is at Dr. Czinner's left

of the great hall in one of the
hunting lodges of Czar Peter
the Third, young Fairbanks'
role, you know. There were
fully a hundred extra people,
in colorful costumes, lounging
on chairs and on the floor be-
fore a mammoth fireplace.
The cameras and the micro-
phones were in position. Dr.
Czinner was in the midst of
rehearsing the scene when I
arrived. Over and over he
put the players through their
paces until every last detail
was played to his satisfaction.
Fairbanks was on stage.
But there was no Miss Berg-
ner. When Fairbanks spoke

[ PLEASE TURN TO PAGE 97 ]

'Whale o/ a Man"

Pugilist, prospector, soldier, actor — McLaglen caps a life
of adventure with fame in the movies

HE is one of eight brothers, as large as himself. Their
mother was Irish, and their father Scotch and a bishop
in the Church of England. When Victor was four-
teen, following the example of an older brother, he
ran away from home to join the army.

Destitute, he arrived in London, and was amazed to learn
that a policeman would not allow him to sleep in Hyde Park.
He wandered about the streets until morning. As it was
before the period in which England and America were making
the world safe for democracy and depression, as usual the
fever of war was in the air.

Before dawn, he met a drunken Scotch soldier on leave.
The soldier had lost a belt containing forty pounds, or two
hundred dollars. Forgotten was King and country, while the
Scotchman searched everywhere for the money. Victor helped
him search, found the money, and returned it to the Scot. He
was given three pounds for having been honest in returning it
to the owner. The man from Scotland also bought the fourteen-
year-old boy his first drink of liquor. When they separated,
the Scotchman again forgot the belt. Victor searched every-
where for him, but could not find him. The money in the
belt solaced Victor for the loss of his comrade. That night

Huge of stature,
large in spirit,
McLaglen did al-
most everything
but act before
lie broke into
motion pictures

By Jim Tully

A man who roamed the world, McLaglen never cares to

wander far from home today. Even vacations he spends

with his wife, Enid, on their twelve-acre estate in the

California mountains

he slept in a warm bed, and
dreamed of fighting for a nation
that would allow him to sleep in
a park.

The next day, the young boy
lied about his age and joined the
King's own guardsmen, for service
in the Boer War. All of these
soldiers were about six feet tall.
His enlistment was for twelve
years.

After serving four years, Victor
became bored with the army. He
persuaded his father to help re-
lease him. When this was done,
he embarked for Canada. He had
learned something of pugilism and
the rougher tactics of life while a
soldier. Thus prepared, he was
alert for new adventure.

In the steerage of the boat he
met a husky young fellow named
Jack Crow, who had just left the
English navy. He was going to
Canada to become a farmer. They
became comrades.

McLaglen as he appears in "The Lost Patrol." In his more than fifty
Hollywood films, no role was more romantic than his own life

McLaglen's first big chance was
in "What Price Glory?" with Del
Rio and Eddie Lowe. As Captain
Flagg, a role every actor wanted,
Victor became famous

When the boat docked, they learned
of a "silver rush" near Cobalt. This
town was many miles away, and they
had but little money. But Victor
could box, and Jack Crow, despite his
name, could sing. They gave exhi-
bitions along the way to keep from
starving. When they reached Cobalt
they met a gentleman called Silver-
man, who promised them work as soon
as the ice thawed, and put them up in
a cabin with twenty other men.

JACK CROW was a stranger char-
acter than any that Victor McLag-
len was later to impersonate on the
screen. His body was covered with
scars, which he explained had been
received in the Boxer Rebellion in
China. Later, Crow told Victor that
his mother had been burned to death
and that he had received the scars in
an effort to save her. Crow died, a
raving maniac, and all of Victor's
strength as a pugilist was needed to
protect himself against him in his
dying hour.

Saddened by the loss of his friend,
McLaglen gave up all ideas of dis-
covering a silver mine, and joined the
railway police at Owen Sound. During
this winter, as a diversion, he had a
half-dozen fights in the prize-ring, and
learned that hardest of human tech-
niques, to receive a beating while an
audience looks on.

He learned, too, of the deceit and
fakery which, common in all walks of
life, were [please tikx to pale 105]

CIVIL WAR atmosphere and the spirit of
the old South are created in Hollywood
on a modern sound stage. This elaborate
setting was constructed at M-G-M for Marion
Davies' picture, "Operator 13."

At first glance you will think it is out-of-
doors. But look carefully and you will see

there is a roof overhead. And what seems to
be sunlight sifting through the trees is really
light from powerful arc lamps. The trees
"grow" only as high as the roof. The entire
"estate"- — picket fences, darkies' cabins, land-
scaped lawns and the Dandridge mansion —
was constructed within sound stage walls.

The star of the picture, Marion Davies, in
the guise of a mulatto girl, leans on the porch
railing talking to Katherine Alexander, whose
role is that of Pauline Cushman, noted Union
spy. Gary Cooper, as Captain Gailliard, is
seated on the railing, on the far left.

On Marion's right are Ted Healy, disguised

Manatt

as a medicine man, and Russell Hardic, also
Union spies.

Beside the camera, on the far left, stands
cameraman George Folsey. The script clerk,
Billy Ryan, is kneeling, carefully checking
every move with the script. Behind the swing
is seated the director, Richard Boleslavsky.

The modern movie equipment looks
strangely out of place in the Civil War setting;
for instance, the microphone boom, stretching
overhead across the porch and pointing toward
the horse-drawn medicine wagon in the back-
ground.

The picture, "Operator 13," is adapted from

the novel of the same name, written by the
late Robert VV. Chambers. Its setting is near
Martinsburg, West Virginia, at the Dandridge
mansion, occupied by General J.E.B. Stuart
as military headquarters in the early stages of
the Civil War. The story is one of the most
romantic ever written about the old South.

Blondes Plus

(curves Mean War

A.R, beautiful
war!

Behind the
passionate
make-believe and the tis-
sue paper gaiety of Holly-
wood lurks dat ol' davil
war!

Not a stuffy old war
with muddy trenches and
unladylike bullets, but a
war of flesh and sex-ap-
peal, of styles of making
love and tricks of per-
sonality— a war of lovely
women! A war which, in-
cidentally, has its counter-
part in every town and
village and big city neigh-
borhood. There is no lane
so winding but it boasts
its Marlene Dietrich, its
Mae West, its Anna Sten,
and even its Garbo and
Hepburn and Connie Ben-
nett, and it's about these
that this crimson tale of
beautiful war revolves.

The first clash in the
celluloid hills was, as we
all know, between Garbo
and Dietrich. The whole
world, from Kong to
Hongkong, sat in arm-
chairs and watched the
struggle.

But it's over.

Dietrich is the victor.

To Mae West goes the credit for
starting the new war. She con-
vinced the world that the curve is
more powerful than the sword, and
invited the armies to come up
some time. Mae's out to win —
and she's an old trooper

Oh, it's a lovely
battle! With sex-
appeal for ammu-
nition, sharp
words, flashing eyes
— movie queens
are the warriors

By George
Kent

But she did not win by defeating
the slim Greta. No, the former
Swedish dress model swallowed
a magic pill or something and
became someone totally dif-
ferent.

In " Grand Hotel," she was
already changing. In "Queen
Christina," the change had taken
place. She has become a power-
ful, nervously tense creature, so
utterly different and remote from
Marlene that there was nothing
left to fight about. At least
there was no common ground on
which to conduct the battle.
Elissa Landi, Miriam Hopkins,
and all the other kopykats of
the slinking, boyish-formed
blonde have also changed. Mar-
lene, who came to imitate, de-
veloped a cut and jib all her
sweet, delicious own.

But shed a tear for the Scarlet
Empress! When she quit that
old scrap with Garbo, she walked
smack dab into a worse one — a
real war, a three-cornered war,
with opponents able to match
her curve for curve, it for it, and
what have you.

The war in Hollywood today,
ladies and gentlemen, is Dietrich
versus West versus Sten!

This triumvirate is a three-
wheeled vehicle of fire, flesh and
the devil.

All three of them round and
feminine, the stuff that mas-
culine dreams are made of, they

curl across the screens of the
world drooping luxuriant ap-
peal on the enchanted au-
diences. And it does not
matter what the climate or
the language, the effect is al-
ways the same. Out of the
square of silver, there em-
anates from these three a
subtle, invisible fragrance
which acts as a delicious
anesthesia and leaves the
overcome audiences gasping
happily.

It is one beautiful war,
loved by the customers,
young and old, for a customer
is often smarter than he
looks. He knows that war is
just another name for com-
petition, and competition
makes the West, Sten and
Dietrich warriors work as
they never worked before.

Mae West has already
loosed her biggest guns, and
the theater aisles of the world
are knee deep in ticket-stubs
and hearty laughs. She came
with that bright, big-hearted,
enameled sophistication
which the world calls
"Broadway." She came,
a spark from the
burlesque

wheels, shining with the con-
fidence of a girl who was able
to teach New York a new
pleasure.

To Mae goes the credit for
starting the new war! She
laid out the battle-field and in-
vited the armies. It was Mae
who reminded us that the curve
is more powerful than the
sword. She cut the corners of
the world, planed down the
angles, made frou-frou and
feathers exciting. She taught
the young bloods that the fig-
ure eight is the nicest number
from one to ten.

For a time it looked like a
minor back-stage skirmish be-
tween Mae and Marlene. And
then along came Anna Sten!
The lady with the lips! The
lady with a strange carnal
power, which overflows the
screen and slips fire into your
arteries.

Now, it is a' real war! The
struggle for supremacy is on,
and heaven help the innocent
bystander !

[ PLEASE TURN TO PAGE 100 ]

Her struggle with Garbo over, Dietrich
now finds new competition on the field of
battle! She's in the fray, like a veteran!
Off came the masculine attire! For this
war is fought in uniforms of chiffon ruffles
and fine feathers

^QftKAnnouncing

The Monthly
Broadcast of

remainder of the evening with her. Everyone
was grateful to Norma for her thoughtfulness.

JOHN GILBERT has taken his squabble with
' Metro-Goldwyn-Mayer to court for settle-
ment after airing it in full-page advertisements
in the public prints. John, in his advertise-
ments, stated M-G-M would "neither offer me
work nor release me from my contract." The
quarrel had been going on several months.

Connie Bennett and
Gilbert Roland were at-
tending the races at Agua
Caliente when this picture was
taken. Gilbert has his eye on
the cameraman, but who does
Connie see?

WHAT is going to happen to the Her-
bert Marshall-Edna Best matrimonial
ship is problematical at this time.
Edna is in England, but she is expected back in
the fall, in a play in New York. Rarely has the
Marshall-Best team been separated in a play.
Edna has maintained a silence about her
marital situation. Herbert, however, has made
one statement which has Hollywood wondering.
He said, "Divorce is farthest from my
mind now. If I should be indiscreet later, well,
that's a different story."

He is staying on in Hollywood, to appear
opposite Connie Bennett in "The Green Hat."

IRVING LIPPMAN, Columbia
still man, was right on the job with
John Barrymore during the making
of "Twentieth Century" having John
posing for still pictures every idle
minute.

At last Irving went to John with
one of his pictures and asked for his
autograph. John looked at him a
long minute and then wrote: "To
Irving Lippman. The less said about
him the better."

TT was a gracious gesture that Norma Shearer
made toward Edna Best just before Edna
sailed for England. It was at a press party
after a preview of "Riptide," in which Mar-
shall appears opposite Norma. Herbert and
Edna were at the party, presumably together,
but Edna seemed ill at ease. Norma quietly
went over to her and spent practically the

Welcome home ! Mae
Murray returns from a
trip abroad. Once a fa-
vorite of motion pictures,
Mae has retired, except
for infrequent appear-
ances in vaudeville

You seldom see a picture
of this young man! It is
Peter Bennett and his
mother. Peter is Connie's
adopted son. She rarely
permits his photograph to
be printed

•"THE betting is even in Hollywood that not
"*• another month will pass without seeing the
Franchot Tone-Joan Crawford nuptial knot
spliced. Joan's divorce from Doug, Jr., is
final in May.

Her latest adornment received from the pros-
pective groom is an exquisite set of earrings
made of platinum. They are lined with a row
of diamonds and Joan's favorite stones, star
sapphires.

TT isn't often that Hollywood takes sides

against Lee Tracy.

In fact, all through his Mexican scrape the
old town as a whole has been pretty much
behind dynamic Lee.

But there are some people who think it was a
raw deal he worked on Junior Laemmle.

Junior, known as a progressive and forward
looking producer, gave Lee his comeback chance
when something kept all the other major pro-
ducers from giving one. The agreement, not
signed, but understood, was that Lee was to
enter into a term contract and make several
pictures at Universal.

After making his first, however, "I'll Tell the
World," Lee suddenly announced a contract

When the Arlen family sailed for Europe, Baby Richard Arlen looked as
pleased as the grown-ups about the trip abroad

John Barrymore came on the set
of "Twentieth Century" one day
and found a dummy dressed as he
dresses in his Kentucky colonel
role. So John gave the dummy
the script, then ordered them both
a mint julep

had been signed with Paramount, leaving
Junior with stories bought for him, writers
signed to adapt them and what not.

Some people can't believe Lee could pull one
like that.

SEEMS as if this was going a bit
far, but the man evidently thought
the end merited the means. Anyway,
Mae Clarke had an ardent admirer
who failed in his efforts to meet her,
even after many a long vigil in front
of her house. One recent night, a
loud crash was heard out front, which
sent Mae and the whole family rush-
ing outside. The determined gent
had crashed his car into a lamp-post,
and there he was, out like a light. He
was carried into the house, and re-
gained consciousness shortly. He
looked up and saw Mae — and his
first words were, "Miss Clarke, may
I please take you out to dinner?"

'"THE last vacation Queen Greta went on,
when she took along a partner in the person
of Rouben Mamoulian, proved too public for
comfort.

Lately she began spending one alone — high
up in the San Bernardino mountains at Lake
Arrowhead.

Garbo spends the greater part of her time
rowing and riding. There's a boat in the front
yard of her mountain place and a horse staked
out in back. In between, she looks over the
script of Somerset Maugham's "The Painted
Veil" — her next.

Richard Boleslavsky will direct it.

"TN this scene you look half-sur-
prised," said the director to Will
Rogers.

"Can't do it," replied Will. "Either
all-surprised or not surprised at all.
If I was good enough to look half-
surprised, I'd ask for a raise!"

TF you would like to witness Connie Bennett
lose every last vestige of her dignity, buy a
seat near her at the prize-fights — where she is
a devoted fan.

Recently, after an especially exciting round
in Los Angeles, our Peeping Tom caught Con-
nie with her feet parked in Gilbert Roland's
lap (right out in public, too). But the climax
of the evening occurred when, in an especially
fast and furious set-to, the rubber teeth-pro-
tector of one of the leather pushers popped out
and lit right in Connie's lap! It almost stopped
the bout.

/"\VERHEARD on a studio lot:
^■^Two "stooges" conversing as to
the correct manner of saying "Brown
Derby." One said it was "Derby"
and the other, "Darby." To prove his
point,he singled out Herbert Marshall.

"Look at him — his name's not
'Bert' — it's pronounced 'Bart.' Look
at that picture, 'Berkeley Square' —
it's 'Barkeley Square.' 'Derby' is
'Darby.'

"Okay," said the other, "but I still
won't say 'Nartz!' "

"P IGIDLY guarded Garbo sets are practi-
cally nothing to Josef Von Sternberg's

secrecy complex when engaged in directing

Dietrich.

While making "Scarlet Empress," Der Stern-

M\*

4 *f ':

I M k

Even gay Hollywood
gasped and missed a
step at this surprising
combination! The jok-
er is Johnny Weiss-
muller, and it tickles
Adrienne Ames, Lupe
Velez, Sandra Shaw
Cooper, Gary Cooper,
and Bruce Cabot

Their very first picture
ever taken together:
Leo Carrillo and the
Mrs., caught by an
early-bird cameraman
at the Little Club, in
Los Angeles

berg even shot some scenes where all the
camera crew and set workers had to vamoose.
He had everything lined up, set and adjusted,
but before the scene was taken, the "scram"
order arrived, and Director Von acted as
sound man, cameraman, director and gaffer
combined. Even in ordinary garden variety
scenes, Von resorted to strategy to keep out
intruders. One door of the sound stage was
barred from the inside and the other, used by
the crew, boasted a huge sign announcing
"Wet Paint." Of course it wasn't wet at all,
but it scared off all those who weren't in on
the secret.

•"THE return from Europe of Gene Raymond

■^ nicely spiked the acrid talk of a split

between Charlie Farrell and his wife, Virginia

iff

* *
**

roles to his credit. Perhaps because of his
proud Prussian features and dueling scars, von
Brincken is perennially a '"heavy." Last fall
in "Shanghai Madness" he portrayed a rene-
gade officer, and in Lee Tracy's comeback
picture, "I'll Tell the World," he keeps up the
dark work.

GEORGE BURNS persuaded
Gracie Allen to see a hypnotist
about her condition. After working
on her for an hour, the hypnotist
turned to George and remarked,
"She doesn't need hypnosis. What
she needs is somebody to wake her
out of this trance she's already in."
All right! Skip it!

"COR the first time in fifteen years, Richard
Barthelmess is without a job. Dick was one
of the more fortunate when the films began
talking for themselves. He had a good speak-
ing voice.

He hasn't definitely settled his future plans,
desiring to take a long vacation before he does,
but at the present, it looks as though he may
produce pictures on his own.

"D IGHT now no one in Hollywood seems to
know whether Clara Bow plans to continue
her screen career or whether, as she remarked
while making "Hoopla," she is tired of it all
and wants to step out of the whole business.

Clara isn't under contract to Fox any more.

She was under contract to Sam Rork, a pro-
ducer who died recently, leaving Clara a free
agent. No pictures have been planned for her
at Fox, and Hollywood rather starts when it
hears her name, although, like everyone else, it
hopes Clara has not forsaken the screen entirely.
She looked too good in "Hoopla," despite the
well worn story.

They say Clara is fairly hefty. Plump, I
think, is the word. She admits it, but says
when a picture comes along she'll go right into
training and work off the poundage.

TEAN HARLOW went out and bought a big
'new car, and now she's trying to find it!
A flock of "loving fans" have carried away
odds and ends such as tires, fenders, tubes,
headlights and cigarette lighters, to place
among their souvenirs. Isn't it just dandy
to be a picture star, and find your chassis dis-
mantled ever}' time you go to look for it?

[ PLEASE TURX TO PAGE 80 ]

Yalli. now that the screen romance team of
Farrell and Gaynor are together again. Gene
sends orchids daily to Janet and he's very much
the devoted swain. And Charlie and Virginia
are around and about everywhere — together.

•"PHE talents of Baron William von Brincken,
Prussian born diplomat, who became a suc-
cessful actor when the war shattered his career,
are apparently endless. Now he has turned
writer, completing a novel recently. The book,
which was held up when the publishing firm
failed, is being considered by major studios as
possible screen material.

Baron von Brincken first gained fame as the
foremost technical advisor on Continental
pictures in Hollywood, then tried his hand at
acting. He has more than fifty principal screen

Once, you remember,
Gary and Lupe were
romancing together,
and gossips said it
meant wedding bells.
But here they are:
she with her husband,
he with his wife, and
everybody certainly
looks happy

Barbara Barondess and
Charles Beahan have
been going places and
seeing things together
since Charlie and little
Sidney Fox broke up
their romance

A Broken Heart

in Hollywood

The true story of a
girl who did her ut-
most to get ahead of
the crowd in movies

By Sara Hamilton

She took the knocks and came up smiling!

Julia Graham (left), small town girl, won her

Hollywood battle and Burns and Allen show

her how to read a role

THE newspapers once again told the story.
An old, old story in Hollywood. The
story of another disillusioned girl who
found the going too difficult in the magic
land of motion pictures; who reached the end of
the trail — ashamed of her failure and ill with
heart-breaking disillusionment and chose,
as the easiest way out — death.

Little heart-broken girls of Holly-
wood. What
stories lie in
their eyes.
What despair
fills their lonely
hearts as, day after
day, they go tramping
about the streets. Lonely,
forsaken people of Hollywood
who have come seeking fame in pic-
tures. What stories they could tell.

They are the type of stories that led nine-
teen-year-old Julia Graham, only a few weeks
ago, to the end of the road, pitifully frightened,
to lie down in despair to die. Alone.

Julia was like hundreds of other girls bitten by the "movie
bug." She could think of nothing else. Back in Sisterville,
West Virginia, Julia lived the life of an average small town girl
in an average small town.

Graduating from high school at eighteen,
Julia went to work in the library of her home
town, went to parties and dances, had dates
with the boys she'd gone to school with, and life
flowed on evenly about her.
But that wasn't enough for Julia.
She wanted to be a movie star more than anything
else in the world.
Oh yes, she'd read time and time again of countless other
girls who had gone to Hollywood with heart-breaking
results. She'd read all the warnings sent out to young
girls not to go to Hollywood. But, after all, she was
different, she told herself. Hadn't her friends told
her many times how well she photographed and
how splendidly she sang? And hadn't she been
in every school play since she was six? Well,
what more could Hollywood want? It
would be easy for her. The other girls had
been foolish, but not she.
So, with the little money she had saved,
she stole from her home
with two bags filled with
her belongings, and
boarded a bus for Cali-
fornia.

She was off on her great
adventure. Julia was on
her way to Hollywood to
be a great movie star.

Two days later she

wired her mother where

she was going.

She made friends on the bus

and her heart sang constantly

within her. That other

world, the little town, the

people in it, all seemed very

far away now. Already7 she

felt a part of the new, magic

world she'd chosen to enter.

Failure, disillusion — It was only when the desert

Julia bucked 'em, and gave way to green and golden

death was just around orange groves, when an occa-

the corner when along , , , , .,

came Earl Carroll and a slonal Palm tree waved lazll>'

new deal [ please turn to page 111 ]

.<**%•

TEMPERAMENT and temper run riot in this scene between Carole
Lombard and John Barrymore — one of many high-spirited moments
in Columbia's "Twentieth Century." In this adaptation from a stage
comedy of last season, Barrymore is the eccentric producer who snares

Irving Lippman

_-**

*>- *•*

«?

»^.

'JOS'*-.

i -

WHILE her maid puts the last curls in place, Director John Ford
keeps the cameras waiting and goes over a sequence with Madeleine
Carroll, English star, making her Hollywood debut in "The World
Moves On." The world does move on, but Madeleine's gown, trimmed
with pearls and nosegays, makes any lady want to turn back the clock

Lilyan Tashman and
Edmund Lowe proved
to the world that love
and marriage can sur-
vive success

Cinderella of Broadway

By Margaret E. Sangster

A BLOCK or two, in New York, often measures more
than a quarter of a mile. It is sometimes the distance
between happiness and heartbreak, between sunshine
and sorrow, between life and death.
And so it is not strange that, while Lilyan Tashman lay
quietly at rest in a white chapel on an upper East Side street,
the lights of Broadway were making magic with her name.

I fancy she would have wished it so. To know that, even as
her friends knelt at her bier and sobbed their last farewell —
even as curious crowds stormed the very doors of the funeral
church — she was still moving and laughing and talking on the

street that she had loved. For Lilyan Tashman did not typify
quiet and repose — she was quicksilver and the flash of sequins
and the perfume of gardenias and the gaiety of dance music.
Her very life was a sky-rocket; she rose suddenly in brilliance,
shone against the clouds — and disappeared when the brilliance
was at its height.

IDOX'T have to tell you the story of Lilyan Tashman — who
was the Cinderella of Broadway. She was the type of person
to whom incredible things happen in a logical manner. Her
entrance to the stage world was as dramatic as any play, for the

great Ziegfeld, himself, glimpsed her in a restaurant and sent for
her and gave her a part in his famous "Follies." Lilyan was
seventeen, then — but it was a seventeen plus. Plus beauty and
that quality which stands for more than beauty — personality.
I can give no better illustration of Lilyan's personality and her
ability to keep friends than the following fact: Eddie Cantor —
who was the star of that original "Follies" in which Lilyan
Tashman appeared as a show girl — was the one who delivered
the eulogy at her funeral.

THE "Follies." Then the legitimate drama, supporting Ina
Claire in "The Gold Diggers." Then two years of stock
company in Washington, and then — Hollywood. So went
Lilyan Tashman — with her career held carefully in leash. She
was never too sure of herself — and was always sure enough.
Success and flattery did not go to her head — laughter and
friendly handclasps were always more important than ap-
plause. I think that is why she never suffered the spiritual
stubbed toes and the mental black-and-blue spots that other
stars have known.

WHEN love came, it happened in the same logically in-
credible way. Lilyan
and her husband, Edmund
Lowe, met first on Broad-
way. She had been playing,
supreme in her beauty, in a
successful production. He
had been the one bright spot
in a certain failure. But he
had, notwithstanding a good
deal of competition, recog-
nized her beauty. And she,
in a drab drama, had sensed
his genius. He dropped in
at the successful production
to watch her — not once, a
score of times. She went to
see his faltering play when-
ever it was possible. Finally
they met, and that was the
beginning of the beginning!
Lilyan, just about to fare
forth and conquer Holly-
wood, said to Eddie: "Go
West, young man!" And he
did.

Their successes — their
screen successes — were
achieved together. Almost
simultaneously they became
public idols. And then, as
their intimate friends had long hoped, they were married.

That was in 1925 — and now it is 1934. Lilyan Tashman and
Edmund Lowe had nine years of happiness — complete, thrilling
happiness. That's a long-time marriage for Hollywood — and
it's more joy than most mortals are privileged to crowd into an
entire lifetime. When the reporters besieged Edmund Lowe,
the day of his wife's death, he hadn't much to say. We like
him because he hadn't. He faltered: "I can't believe it. . . ."

Which is, in a way, the perfect tribute.

I AM glad that they buried Lilyan Tashman in a blue gown.
As the newspapers recorded, it was "of a cut and style for
which she was famous." I am glad that it was smart and
pretty, but above all I am glad that it was blue. Blue was very
becoming to Lilyan.

"Of a cut and style for which she was famous!" Ah, the
world knew Lilyan Tashman as the best dressed woman of the
screen — and that title was not lightly achieved. The Gloria
Swansons and the Joan Crawfords and the Constance Bennetts
have been no mean aspirants to the honor — to say nothing of
half a hundred others. But Lilyan Tashman won the position
and held it against every comer by sheer clothes instinct rather

To Lilyan Tashman —

The gracious gowns you wore were just a token
Of the rare beauty that your soul possessed,
Of the fine courage that remained unbroken;
So, when folks say, "She was superbly dressed!"
They pay a tribute to triumphant glory,
To charm that could be neither bought nor sold.
"Superbly dressed!" It tells a gallant story,
A story that was broken off, half told . . .

than by intent. She didn't try to be the screen's best dressed
woman — she couldn't help being the screen's best dressed
woman ! Every hat she chose was perfect ; every coat and suit
was innately right.

Lilyan Tashman wasn't the sort to let down in the privacy of
her own boudoir, for the simple reason that she didn't approve
of, or enjoy, letting down. If she had been careless about
clothes, I have no doubt that she might have been careless in
other matters — but carelessness was a word that had been left
out of Lilyan Tashman's vocabulary. If she had let down in
the matter of grooming she might even have murmured, at the
end, "I'm tired. I can't work any longer. Give me rest."
But she didn't.

She practically died on the set, finishing her last picture. The
physician who operated on her said, "It was her indomitable
will — and her courage — that kept her going."

LILYAN TASHMAN'S home reflected her personal taste—
and the taste of her husband. She it was who started the
vogue for white — draperies, upholsteries, carpets. One would
imagine that a home with a plethora of white upholstery might
be a hard place in which to live — but it was not so with the

Tashman-Lowe domicile.
Lilyan never told Eddie,
I'll warrant, to be careful of
the ashes and to beware of
muddy feet. And her guests
didn't feel, ever, that they
were posed against the back-
ground of a modern muse-
um. Despite elegance of
fabric, and the delicacy of
design, and utter good taste,
they felt at home — and they
acted at home. That's the
best recommendation that
anv hostess can have!

/ like to picture you as someone living,

(For perfect beauty never, never dies!)

I like to think of you as smiling, giving,

With gleaming hair, and shining, friendly eyes —

/ like to think you will be very neat*

Whenever people long for lights and cheer!

— Margaret E. Sangster

ILYAN TASHMAN
will be remembered as
the best dressed woman of
the screen. That's inevi-
table— for she was! But
there are many who will re-
member her differently. As
a good trouper, as a good
sport, as a philanthropist,
and as a patron of the arts.
As a firm friend, and the life
of the party.

The pity of it is that
Lilyan Tashman died in her
early thirties. She should have lived to be very old — so that we
might have learned, from her, the lesson of growing old grace-
fully and graciously. She should have given birth to the
children for which she longed — "I want babies," she used to
say, "and I'm going to have them."

It gives a sad sense of satisfaction to those who loved her —
the knowledge that she will never be dimmed.

She belongs to the past — and to the present — and to the
future. Because, for her, the past and the present and the
future have ceased to be.

A block or two, in New York, often measures more than a
quarter of a mile. It sometimes spells the distance between
mirth and tears, between today and eternity.

And so I try to tell myself that Lilyan Tashman — dressed in
the color she loved — surrounded by flowers and friends — was
only taking a needed rest.

I tell myself that — in some bright dream — she was conscious
of her shadow self, appearing upon the screen of a Broadway
theater.

I like to think that the murmur of the curious crowds storm-
ing the door of the little chapel that housed her, came to her not
as an intrusion, but as the echo of a nation's applause!

Baby Mae West"
—That's Toby!

A Raft of Work
Is His Reward

YOU know her as Toby Wing. Members of her family know
her as Toby, although she was born Martha Virginia
Wing. Because, you see, down in Virginia, where Martha
Virginia was born on her grandfather's plantation near historic
Richmond, a skittish colt is termed "toby-struck." Martha
Virginia, according to a doting aunt, was a touch skittish, or,
rather, "toby-struck." Toby she has been since.

Lately though, in Hollywood, Toby has been getting another
name. It's " Baby Mae West." As you may have noticed, Toby
has curves, and what goes with them — plenty of personality.

Maurice Chevalier, no less, thinks Toby is about the loveliest
creature in Hollywood. Incidentally, Toby isn't backward
about giving her opinion of Chevalier. "The most fascinating
man I ever met," says she.

Blonde — naturally — she and her sister, Pat, are a striking
contrast. Pat is decidedly brunette.

This eighteen-year-old daughter of a retired army major and
granddaughter of a Confederate army captain has a lot of sense
under her golden hair. She does not gad around week nights.
No sir! She is early to bed and early to rise. Social activities
are limited to Friday and Saturday nights, and then not too
much. She likes fun and enjoys frolicking as much as the next
youngster, but she is very serious about her screen work.

Toby started in acting when she was a child, with the Gamut
Club in Los Angeles, and Columbia Pictures.

Her more recent screen work began with a part in Eddie
Cantor's "The Kid from Spain." Then you saw her in "42nd
Street," "College Humor," "Search for Beauty," "Come
On Marines." "Murder at the Vanities" is her latest.

ROGER PRYOR, who took over George Raft's role in Mae
West's latest picture, "It Ain't No Sin," doesn't look
much like an actor. This native of New York City looks
more like an ail-American halfback, six feet tall, straight,
athletic, and younger appearing than his thirty years..

Yet, there isn't much Roger can't do in the way of entertain-
ment— singing, dancing, acting. He also can get melody out of
a piano, trombone, saxophone, trumpet and several other types
of musical instruments. His musical bent is natural. His father
is Arthur Pryor, the noted bandmaster and composer.

Hollywood calls Roger "another Lee Tracy." His fast-
talking, taut-nerve parts in "Moonlight and Pretzels" and "I
Like It That Way" started the comparison.

Oddly enough, Roger has a definite connection with Tracy.

When Lee was starring on the stage in "The Front Page" in
Chicago and broke his ankle, it was Roger Pryor who assumed
the role. Then, in 1931, Roger starred in "Blessed Event" on
the New York stage. And Lee did right well by the same part
in the movie version. Finally, Roger and Lee are together on
the screen in "I'll Tell the World."

Although considered a fairly new screen "find," Roger is a
veteran trouper, having been on the stage since 1919. He has
a reputation for the fast-action type of roles. It was this that
got him his screen opportunity in " Moonlight and Pretzels."

The elder Pryor had intended his big boy should become a
physician. But the call of the stage was too much for Roger.

However, the father's desire finally was fulfilled. Roger
recently played the part of a young doctor in a West Coast stage
company's version of "Men in White."

4-5

Cleopatra

BAH, these Hollywood actors make me ill," Cecil B.
DeMille stormed (with hail and everything) on
the "Cleopatra" set. "They have no feeling for
the true beauty, the insight into those who lived
when Rome was in her full bloom. I wish I might have
Cleopatra herself to play in this picture," he mused, and
even as he spoke there appeared before him a strange and
odd little creature looking not unlike Ernst Lubitsch, even

to the cigar, and
clad in a toga.

''Thou hast
spoken, master,"
the little toga-clad
image resembling
/ Ernst bowed, "and

as thou spokest

Comes To Hollywood

matcheth the emerald in the garters
beneath those riding breeches. Hence
thy wish shall come true. Tomorrow,
as the sun ariseth, Cleopatra's barge
shall appear over yon horizon. Get
thee there to greet her." And then
he was gone.

Well, Cecil practically expired on
the spot while the news flashed, wires
hummed and cables sang. After all,
some pretty important people had
trod the old boulevard of Hollywood,
but Cleo, the most famous vamp of
them all, capped all the climaxes.

Promptly at sunrise the next morn-
ing, Cecil, accompanied by three huge floats, one depicting the
"Spirit of the Nile," one the "Spirit of the Mississippi," and
one the "Spirit of the Los Angeles River If It Had Any Water
in It," followed by the Four Mills Brothers, marched directly
ahead of the Hollywood Chamber of Commerce to the harbor.
The American Legion boys, cards that they are, carried a huge
banner saying, "Hello, Cleo — Where's Elmer?" in large letters.
Huge, gigantic, terrific, colossal banners hung from all the
corners screaming, "Welcome Cleo! Hollywood Greets the
Queen of Them All."

Which, of course, made M-G-M simply furious and they
promptly went all over Culver City hanging banners which
read, "Garbo — the Antony-Snatcher of All Time."

Men flocked; women
wept; directors told
her to diet. But her
answer to Hollywood
clamor was, wPhooie"

By Sara Hamilton

ILLUSTRATED BY FRANK 1) OBI AS

Oh, it was aU very confusing, what
with the noise of the motors accom-
panying the floats, and Cecil yelling
and screeching instructions to the
Central Avenue slaves dressed in
prop bracelets and loin cloths. And
through it all, W. C. Fields, for some
reason, wanted to play card tricks
all the way to the harbor. It was
awful.

Then off in the distance, o'er the
horizon, the gleam of a golden barge
was sighted, its orange sails at full
mast. Soon the elaborate barge drew
near and out stepped a dusky-
skinned creature in a soft robe of clinging white. Not exactly
a strikingly beautiful woman, but about her radiated a some-
thing so strong, so dynamic that the entire waiting mob, in-
cluding the trucks, fell over backwards. Only Cecil remained
calm and serenish and, raising his right arm in salute, he said:

"/^\H, Lady of the Nile, I'd prostrate myself if I could get
^^ down in these pants. But we, nevertheless, welcome you,
oh gracious queen, to our city of Hollywood. You're over-
whelming, glamorous, seductive, alluring — "

And, just then, from behind Cleopatra stepped her four
children in a neat little row. The twins, Cleo and Tony, aged
nine, both with a front tooth missing and both ready to pop out
with measles at the drop of a hat.

"Hold it for a still, Mrs. Cleopatra," the photographers
screamed. "Could you pull up the nightgown for a little leg
art? And how about one of you and Mr. DeMille shaking
hands! You just smile and say, 'Yes, Mr. DeMille.' "
Cleopatra looked around, puzzled.
"Where is my litter!" she spoke for the first time.
A dumb mechanic pointed to the four awe-struck children
behind her.

"Where is my litter!" she again demanded.

Well, lad}," spoke up one of the photographers, "if
I'd have known, our Scottie had a litter this
morning — "

But Cecil, who catches on like anything,
waved them aside and conducted the fair lady
up the wharf, just as the Four Mills Brothers
broke out into a hot version of the "Tiger
Rag," which promptly threw the oldest boy
Caesar (or at least he should have been
called Caesar, he looked that much like him)
into as neat a fit of leaping hysterics as has
been seen on these shores for some time.

Getting things calmed down a bit, Cecil
led Cleopatra to the waiting limousine.
" What manner of litter is this? " she asked.
"The new V model with the free knee
action," Cecil explained. With a skeptical
glance, Cleo climbed in and reclined, nat-
urally enough, on the back seat, leaving
Cecil and the children to arrange them-
selves as best they could on the floor of the
car.

Unnoticed by Cecil, Cleo had placed a
small basket on the floor, and leaning over
to Cecil she said, "Pardon, my friend, but
would you mind arising? You are sitting
on my asp." [ please turn* to page 107 ]

Would You Girls

winked a roving eye at a willowy blonde passing the window,
tugged at his tie, and said:

"Here goes."

On the stroke of eleven, Dick Powell's name was sprawled
half way across the "no marry" page.

The weeping and wailing, to say nothing of the gnashing of
teeth that went up over the land, was something!

Powell admirers from all over the world wrote in by the
hundreds. Hundreds nothing! Thousands of letters poured in!
" Why, oh why, Mr. Powell, could you do that, just when mama
was making me a new red foulard to have my picture taken in
to send to you? " Evidently the red foulard was to do its stuff —
knock Mr. Powell headlong into Toluca Lake and matrimony.

A S for the girls of Hollywood! Well, they went around for
■* *-days as if there could be just no use going around any more.
For here was Hollywood's greatest catch since Gary Cooper,
signing away all their chances at him for one whole year.

Dick only grinned at the hullabaloo. He didn't give a hoot-
ananny one way or the other. The fact that anyone would care
particularly never dawned on him.

And come to think of it, knowing him as I do, I wonder if
you'd really want to marry Dick Powell if he could marry?

Now, wait! Don't all scream into my shell-like ear at once!
Take it easy! Maybe if you knew what Dick Powell's life is
like, you wouldn't — . It's an idea. Let me tell you what life,
as Mrs. Dick Powell, would really be.

Here's a saddening fact for Powell's many
feminine admirers. If anyone has the inside
track in the handicap race for Dick's heart,
it certainly seems to be the charming and
beautiful Mary Brian

THE pen hung poised
over the fateful words
in Dick Powell's con-
tract. "Thou shalt not
marry for one whole year,"
they read — or however Papa
Warner had worded the clause.
The girls of Hollywood stood,
looking at the clock, with wide,
staring eyes in white, stricken
faces. And the ticking that
was heard wasn't the clock's;
it was knees knocking. All in
all, the girls looked like those
things that stand in shop win-
dows with $14.95 marked on
them.

Promptly at eleven A. M.
Pacific Coast Time, Dick was to sign or refuse to sign that paper.
And that, as good old Hamlet did not say, was the question.
Would he sign?

At exactly one minute to eleven, Dick, calmer than last
year's straw hat, with the usual grin on his face, picked up a pen,

Mrs. Powell would have to be approved by Ellis, who reads fan mail aloud to Dick

Just relax. There! Now gaze steadily into the crystal ball.
Hah! An image! It grows clearer! Why, it's Ellis! Or haven't
you heard about Ellis? Well, Ellis it is who looks after Dick
and handles his abundant mail. It's Ellis who says what Dick
shall eat, what he shall wear, to whom he shall telephone (if

Marry Dick Powell?

Yea? Well, read
this and perhaps
von won't be so
anxious. Anyway,
he can't be wed
for many months

By Sylvia Harper

Ellis doesn't approve, Dick will never
know you phoned), what he shall — . Well,
Ellis is there, and you could no more get
rid of Ellis than Jimmy Durante his nose.
He's just there. Like the Rock of Gibral-
tar, and try shoving that out of the way.

Promptly every morning at seven-
thirty, after breakfast, Dick goes into the
living-roon\, picks up his clarinet, and he's
(iff on "Honeymoon Hotel'' with varia-
tions and fire-escapes. Next comes the
banjo, and out over Toluca Lake pours
the message that '"He's going back to his
little grass shack in
wherever - i t - i s in
Hawaii.'' And every-
one hopes he is, and
will start soon. Then
comes the saxophone.
Good old saxy. This
time Dick rips out
" Puddin' Head Jones,"
till it's a wonder " Pud-
din's"' head doesn't fly
off with all the heads of
the neighbors for miles
around.

Quietly picture your-
self in the same house
with that!

But, get a good grip
on yourself. We haven't
played all the instru-
ments in the band, yet.

Comes the piano.
Dick isn't so hot on the
piano . so he usually con-
tents himself with
blithely skipping up
and down the scales
some twenty or thirty
times. Do, re, mi, fa,

Dick might boop the roof off

with his saxophone, but the Mrs.

could only smile

^ith all his winning ways, Dick Powell has many odd
traits to worry any girl who might marry him

sol, la, ti, do. And back again. At this point
Ellis may or may not bring you an aspirin. It
probably won't have occurred to him you need
one. For Ellis, good old gem of the ocean, thrives
on Dick's one-man-band.

By this time, the inevitable insurance agent will
be ringing the front doorbell, and a boy, at the
side door, will be delivering a message from some-
body in Little Rock, Arkansas (Dick's home town),
asking Dick to cut the cake at the festival on the
church lawn next week. A man selling home-made
neckties for actors will be pounding on the back door.
The insurance agent, for a time, will give up, and a man
selling stock in the Pacific Ocean will take his place at
the front doorbell. The messenger boy has hammered so
hard on the side door that the key to Little Rock,
neatly crossed on the wall with the key to Pittsburgh,
has fallen from its place, nearly splitting Ellis' skull
from stem to stern.

But wait. We forgot the solo in the shower. It
usually consists of a lot of "do dum dee diddles" and
the like.

And by the way, do [ please turn to page 109 ]

'%.

***

apoleon's
Ghost

Walks Out On
Warners

k*&%i^

The main difficulty
is getting someone
to be Napoleon, but
filling the role of
Josephine is not a
simple matter by
any means. Kay
Francis might qual-
ify, by comparison
with the famous
portrait of the Em-
press by F. Gerard.
But Kay's not will-
ing to wear the
crown

HOLLYWOOD is suffering from a Napoleonic complex.
A mocking echo of the Corsican's tempestuous,
violent life has come down through the years and set
the film capital topsy-turvy.
Whereas Waterloo was Napoleon's breaking point, Holly-
wood is wondering if

public libraries have been razed by frantic con-
testants, and Warner Brothers' studio is giving
a first class imitation of a battle-field.

Ever since someone first thought of the idea
of filming the life of Napoleon,
trouble has turned the script into
a scrap, and the whole under-
taking has a glazed look around
the eyes. Hollywood is suffering
from a reign of error.

Edward G. Robinson, of course,
was the star the studio had in
mind at the beginning of the
Napoleonic campaign, and Rob-
inson was quite willing — nay,
anxious — to play the part. In
fact, he was so anxious to be
Napoleon that he read thirty-
eight biographies; steeped him-
self in the sayings and philos-
ophies of the Little Corporal, and
wandered around Hollywood with
one hand stuck in his vest, mut-

mmrn^

Certainly here's imperial form
and bearing, the Warners said
of Gloria Swanson. She looked
this way in "Tonight or Never"
just a few years back. She'd
be as gorgeous today, perhaps,
as Empress Josephine. But
the ghost of Napoleon snick-
ered— Gloria said no !

Napoleon is going to be its
breaking point.

Anyhow, it certainly
looks as though his ghost is
in town and having a mad
fling.

The state of chaos came
about through Warner
Brothers deciding to make
an extra-stupendous picture
of the life of Napoleon. And

as Napoleon threw all Europe into a scramble, so
has the plan to film his life thrown this Hollywood
studio into a seething situation, and the reper-
cussions of dissatisfaction are heard throughout the
town.

Five of the most important stars in Hollywood
are engaged in open, active warfare over Napoleon;
one world-famous author is in a super-huff; one
excellent make-up man is in a super-collapse; the

£&~

•jfv.

^r^

The Warners de-^
cided that Ernst
Lubitsch could be
Napoleon if he'd
come out from be-
hind his cigar. But
who'd direct him?

The elusive spirit of the
Little Corsican has left
actors and producers in
a Waterloo of confusion

By Winifred Aydelotte

tering to himself, "March on!"' "Hail men!'' and "If there is
no one to make powder for the cannon, I can do it."

Enter Perc Westmore, Warners' ace make-up wizard, who
is now in the aforementioned super-collapse.

"Make up Robinson to look like Napoleon," Westmore was
ordered.

Now, as everyone knows, Robinson resembles Napoleon in
just one particular — height. Napoleon, when he first began
terrifying Europe, was thin and slight; Robin-
son is squat and stocky. Napoleon's
mouth was classic, sensitive and rather

Charlie Chaplin has had the
ambition to play Napoleon in
a serious picture for years, and
shows us how he'd appear in
the role if the Warners paid
his price

One thing make-up can't do,
apparently, is to convert
Edward G. Robinson into a
Napoleonic type. Minus that
"Silver Dollar" mustache,
Robinson was scheduled to
play the role. He studied up
on the Emperor and got him-
self into a Napoleonic frame
of mind, but he met his Water-
loo in the make-up department

Richard Barthelmess has a
something about him not un-
like the Vernet portrait of
the Emperor — even to the
dimple in his chin. And
look at their noses

The celebrated portrait of Napoleon
by E. J. H. Vernet, hanging in the
National Gallery, London. Actors, it
seems, just don't grow this way, and
make-up helps little

beautiful, and his nose was long and thin and
pointed. Robinson's mouth is second only to Joe
E. Brown's in scope, and his nose is scared into a pug
by his mouth.

Well, Westmore dragged out his make-up box and
got to work. He tried putty, wigs, shadows, false eye-
brows. He tried make-up from Number One to a
Thousand and Two. He enlisted the aid of adhesive
tape, wax, false hair, and stopped just short of black-
face and plastic sur-
gery. Test after test
was made. Still Rob-
inson failed to re-
semble Napoleon.
The spirit was will-
ing, but the face re-
in a i n e d Little
Caesar's.

Warner Brothers
drooped with dis-
couragement, and
Westmore collapsed.
Robinson went right
on reading the books,
although he was
heard to exclaim, in
unhappy surprise,
" Waterloo know-
about that!"

Score one for

Napoleon. His ghost

won the first battle.

But Warners were

[ PLEASE TURN TO
PAGE 114 ]

Sylvia Tells Loretta Youn
How To Put On Weight

This charming, talented, spunky actress needs
more flesh and physical strength, Sylvia says

TJ:

gf^S*

EAR LORETTA:

As I sat in the theater

on the opening night

of "The House of
Rothschild" — completely
surrounded by mink coats — I
got a yen to write to you. It
struck me that they couldn't
have chosen a better girl to
play the part of Rothschild's
determined daughter. For all
through your life you have

shown determination ! You are a gallant little trouper.
You have the will to go ahead on your chosen course and
if you think you have made a mistake you have the courage
to alter your plans.

When things don't turn out as you expect, you don't
hesitate to turn about face.
That's just what I admire — a
girl who will admit a mistake
and set about positively to
rectify it. All your life you've
shown that you had spunk.

I remember years ago, one
Sunday at Malibu, hearing
Herbert Brenon rave about
you. He was one of the first
to have a tennis court at the
beach, and the elite of Holly-
wood used to drop in to play
tennis, to stay to luncheon —
and that meant staying to
supper. Some folks stayed on
over the week-end, too.

Well, on this particular
Sunday, Ronnie Colman, Bill
Powell, Neil Hamilton, Anna
Q. Nilsson, Alice Joyce, Eddie
Lowe and the late Lilyan
Tashman were all there. H.B.

In "The House of Rothschild," with Arliss, Loretta is underweight, Sylvia
finds. She seems to lack vitality, despite her well-known determination

Warner, who had just made a wonderful success in "The King
of Kings," breezed in and we started to talk about pictures,
acting and picture people. I don't need to tell you, Loretta,
that that's Hollywood's favorite subject. And why not? That's
their business. And that's where you come in.

I was selecting
my luncheon from
the buffet table—
and, as usual,
squawking about
the richness of the
food and begging
the stars not to eat
too much of it for
fear they would put
on those dangerous
extra pounds when
I heard Brenon
praising a new
actress he had just
discovered.

"She has every-
thing, ' ' thedirector
said, "youth and
beauty and tal-
Lovely to look upon, yes. But Loretta could be even ent >>

more beautiful if she would follow Sylvia's exercises " ,

and diet to fill out her throat and do away with those _ x stopped to

little cords on the side listen.

" I tell you," he went on, "all of you are going to hear
from this Loretta Young girl."

It seems you were playing with Lon Chancy in ''Laugh,
Clown, Laugh," and you were only fifteen at the time.
Brenon had a tough time getting you to do emotional
scenes that would have been difficult for a woman of
twenty-five to interpret correctly. One day on the set
you were supposed to cry. Brenon was desperate because
you couldn't dig up a single tear. Then he said to you,
"You're terrible. If I had had any sense at all I would
have let your sister, Polly Ann, play this part. It isn't
too late to change, even now."

And right then you burst into real tears, which was just
what Brenon wanted you to do. He told us all about that
— all about what he had put you through. " But the kid
takes it," he finished. "She's got spunk."

AND, believe me, Loretta, spunk is the greatest asset
in the world for anybody to have — from actress to
file clerk.

So I kept thinking about all those things as I watched
you in "The House of Rothschild" — and that's credit to
you, because when one sees that picture, it's hard to
think about anything else but the story.

But I became concerned about you, because your walk
shows me that you're terribly tired. Did you know that
a person's walk is the key to his or her personality? I can
read character by a walk. Just let five women come into
a room, and by the way they enter I can tell what they're
like. From your little chin up you're all energy and fire
and' determination. But your body lacks strength — and
that's what your walk shows me. You slump. You put
your thighs and knees forward and seem to be leaning on
a backbone that isn't vital enough to hold you up.

You should have learned a lesson from George Arliss.
Look at his walk. He slumps, that's true. He is slight

Miss Young, Sylvia says, does not stand and walk
to the best advantage, even when not supported.
Her knees and her backbone need strengthening

Now get the point, Loretta. This is friendly advice,

and the point is, cover your hips with a little more

flesh! Build yourself up!

and small, but when he walks in front of the camera you know
instantly that he is somebody. He has character and determina-
tion and strength in his walk — and that's what I'm aiming at for
you. Your carriage is just a bad habit you've gotten into, and
you're too beautiful to do anything to detract from that beauty.
Now I'm going to give you an exercise to strengthen your spine and
improve your carriage and posture. [ please turn to page 88 ]

Too thin? This article will aid you.
And see page 88 for Sylvia's answers

Select Your Pictures and You Won't

STAND UP AND CHEER— Fox

THERE'S a sure way to solve the nation's problems — and
Fox's Movietone revue, '34 edition, tells all about it in
this lavish pot-pourri of music and mirth.

The remedy is a "Secretary of Amusement"" in Washing-
ton. Warner Baxter, selected for the job, proceeds to round
up the talent in the land. Madge Evans helps by making
the kiddies happy, and by providing romantic inspiration.

The idea paves the way for impressively staged musical
numbers and comedy skits, in which James Dunn surprises
as a top notch song-hoofer. That amazing tot, Shirley
Temple, is sensational with her talent and loveliness.

John Boles, Stepin Fetchit, Mitchell and Durant high-
light the remaining galaxy. An inspiring finale number,
"Out of the Red," tops the tunes.

1 *- -\

tSm

•*]

Wm ^*^"-W

Jbs

%r*^l

WILD CARGO— RKO-Radio

IF animal pictures appeal to you at all, be sure to see
this interesting account of Frank Buck's most recent ex-
pedition into the dense Malay Jungle.

You who thrilled to "Bring 'Em Back Alive," no doubt
anticipate this new adventure into the land of struggles
and death, and you will not be disappointed.

As the film unreels, Mr. Buck explains in detail how
each conquest is made. His methods of capturing these
wild beasts are exceedingly clever. But, as he says, half the
job of catching rare specimens is to keep them after you've
got them.

A bit of comedy is supplied from time to time by a
wrestling honey bear and a playful monkey, nicknamed
Londos and Strangler Lewis. Photography is splendid.

5If

The

Shad

A Review of the New Pictures

MELODY IN SPRING— Paramount

IT'S just as light and engaging and inconsequential as
its title, with charming music, unusually beautiful sets,
and an amusing plot.

Marking the screen debut of Lanny Ross, radio's popular
tenor. Master of the tuneful moments, his admirers will be
quite pleased. For, though he has a lot to learn about
motion picture technique, his charming personality, his
good looks and his voice, which is undeniably one of the
best on the air today, compensate in full.

Charles Ruggles, as Warren Blodgett, dog biscuit manu-
facturer and "collector" of knick-knacks, who won't stop at
stealing to get what he wants, and Mary Boland as his
chattery wife who is resigned to his thievery, supply fun
and laughter in abundance.

In spite of the fact that Ruggles never ceases fighting
him off as a prospective son-in-law, Lanny finally wins Ann
Sothern by showing her father some new wrinkles in the art
of snitching. This, after trailing the family from Paris to
a lovely, picturesque Swiss village.

His reasons for following them are romantic and business
- — business of securing a place on Blodgett Radio Hour.

The musical sequence with the dairy maids and the cows is
grand. And Ruggles' mountain climbing is a howl.

George Meeker, Herman Bing, Norma Mitchell, Helen
Lvnd and the three Gale Sisters lend their talents.

Have to Complain About the Bad Ones

The Best Pictures of the Month

MELODY IN SPRING GLAMOUR

STAND UP AND CHEER WILD CARGO

HOLLYWOOD PARTY ALL MEN ARE ENEMIES

THE TRUMPET BLOWS TWENTY MILLION SWEETHEARTS

The Best Performances of the Month

Mary Boland in "Melody in Spring"
Charles Ruggles in "Melody in Spring"

Constance Cummings in "Glamour"

Warner Baxter in "Stand Up and Cheer"

George Raft in "The Trumpet Blows"

Adolphe Menjou in "The Trumpet Blows"

Lee Tracy in "I'll Tell the World"

Frances Dee in "Finishing School"

Ginger Rogers in "Finishing School"

W. C. Fields in "You're Telling Me"

Aline MacMahon in "Side Streets"

Casts of all photoplays reviewed will be found on page 122

GLAMO UR— Un her sal

HERE is a picture that will appeal to your heart, your
mind and your sense of good screen taste. This artfully
presented Edna Ferber story marks Constance Cummings'
debut as a genuine emotional actress.

A dumb little chorine, she annoys theatrical composer
Paul Lukas until he consents to make her a star. She also
manages to arouse in him romantic interest. They marry,
and she is granted every wish, including motherhood. But
the glamour of stage success and wealth gradually wears off.
Then dark, handsome Phillip Reed, an unknown singer,
enters her life, causing a divorce.

Neglecting her own career, Constance throws herself
wholeheartedly into the task of making this new husband
a popular star. And, after a time, when Reed shines
brightly in the Paris theatrical firmament, he begins paying
"little attentions" to another woman.

The tragedy of her second marriage is the savior of Paul's
career and her own.

Lukas is more than usually distinguished. And Phillip
Reed's fan mail will rocket skywards after this. The sup-
porting cast, to a man, turns in skilful bits of acting.

Direction by William Wyler is well timed and plays a big
part in making this the top-notcher that it is. Photography
excellent. Your time in seeing this film will be well spent.
It represents quality diversion.

HOLLYWOOD PARTY— M-G-M

A CRAZY quilt edition of music and nonsense. "The
Great Schnozzola," Jimmy Durante, gives a colossal
party for Baron Munchausen (Jack Pearl). And out of this
rises all the funny business.

Funniest of all is the sketch by Lupe Velez, Stan Laurel
and Oliver Hardy. It's the prize of the picture, and will
have folks rollicking with laughter.

One of the best Hollywood comedy casts that has been
assembled in many a day includes Polly Moran, Charles
Butterworth, Ted Healy, Richard Carle, George Givot.
And June Clyde and Eddie Quillan who put over their song
number in fine style.

Besides all these ace performers, there is little Mickey
Mouse, presented in a grand color cartoon fantasy.

ALL MEN ARE ENEMIES— Fox

AFTER the war separates Tony Clarendon (Hugh Wil-
liams) from his Austrian sweetheart Katha (Helen
Twelvetrees), he searches long and tirelessly, but in vain.

Later Tony marries the English girl next door, and
devotes every waking hour to his architectural work. Mona
Barrie gives a beautiful performance as this determined,
calculating and ambitious young woman. But her victory
won, Mona tires of Tony and her affair sends him off on
another search for Katha. The lovers are finally reunited
on the romantic Island of Capri, where they met.

Herbert Mundin, Una O'Connor are again an inimitable
pair of Cockney servants. Henry Stephenson, Matt Moore
and other supporting players comprise the excellent cast.

Yery British, and a bit too talky. Fine camera work.

The National Guide to Motion Pictures

( BEG. II. S. PAT. OFF.)

THE

TRUMPET

BLOWS—

Paramount

<5^iS~ \

1 " IF ** 2Hfc

% 1 'Mr ^ r^k

' }/*■* v- i l

■ ' :. '

TWENTY
MILLION
SWEET-
HEARTS—
First National

AS the sleek young matador, George Raft performs exciting
scenes in the bull-ring before an enthusiastic crowd.
Adolphe Menjou, a Mexican bandit posing as a wealthy
rancher, handles the role of Raft's brother admirably. And
Frances Drake (loved by both men) contributes a snappy
rumba. Colorful settings of bull-ring and Menjou's hacienda.
Grand photography. Katherine DeMille, Sidney Toler.

ILL TELL
THE WORLD
— Universal

THROUGH talent scout Pat O'Brien's scheming, Hollywood
waiter Dick Powell becomes a radio favorite. But how he
attains his popularity makes this splendid entertainment.
Dick's big opportunity comes when Ginger Rogers obligingly
bluffs a faint and "gives him the air." Some knockout songs.
Good performances by entire cast, including the Four Mills
Brothers, Ted Fio-Rito and the Radio Rogues.

FINISHING

SCHOOL—

RKO-Radio

ALL together boys and girls, three rousing cheers. Lee
Tracy is back! As the news-scooper-upper, one of his best
characterizations, Lee hops nimbly about the globe and saves
a beautiful princess (Gloria Stuart) from assassination. Saves
her for himself, which is only fair, after all, because she cer-
tainly gets Lee in plenty of jams. Lots of action. Excellent
cast includes Roger Pryor.

THIS expose of one of those ultra-ultra debutante "corrals"
wavers between comedy, a preachment and drama. But
your heart will melt for Frances Dee who flaunts the school's
snobbery to love poor interne Bruce Cabot and then — well,
girls will never learn. But marriage solves it. Frances and
Bruce excellent, Ginger Rogers steals her usual scene quota,
and Billie Burke is the fluttery society mother.

A VERY

HONORABLE

GUY—

First National

HOLD THAT
GIRL— Fox

JOE E. BROWN, a two-bit gambler, is a right guy who never
goes back on his word. Broke and in debt to gangleader
Alan Dinehart, he loses his girl, Alice White. In order to pay
up, he sells his body to a scientist for a thousand dollars,
delivery in one month. But luck turns. And on "delivery date"
he has Alice back, and a million dollars besides. Joe gets out —
but how? Good entertainment.

ROMANCE, adventure and humor are unreeled in this
fast-moving tale. The trails of witty detective James Dunn
and ace tabloid reporter Claire Trevor cross frequently in the
course of their duties. Claire's anxiety for a headline story
lands her in the meshes of an underworld gang, led by Alan
Edwards. The film is climaxed by a wild, careening ride with
death. In all you'll find it quite entertaining.

Saves Yo ur Picture Time and Money

YOU'RE
TELLING
ME—
Paramount

BORN TO
BE BAD—

20th Century-
United Artists

A HILARIOUS pantomime with W. C. Fields wandering
through most of it in an amazingly inebriated condition.
Returning from a business trip, Fields meets a princess (Ad-
rienne Ames) on a good will tour, who comes to his aid in
bringing about the marriage of his daughter Joan Marsh to
wealthy Buster Crabbe. Fields is the whole show — a riot of
fun. Louise Carter, as his wife, is excellent.

UPPER-
WORLD—
Warners

IF you like 'em bad, Loretta Young is your dish in this
aptly titled film. She commits everything worth committing
and teaches her child, Jackie Kelk, to follow her example —
but wealthy Cary Grant, adopting the boy when the courts
separate him from Loretta, teaches him the meaning of honor.
Loretta Young at her best. Henry Travers, Harry Green,
Russell Hopton all in top form.

3 ON A

honey-
moon-
Fox

WARREN WILLIAM, neglected husband of Mary
Astor, drifts into pleasant liaison with Ginger Rogers.
Ginger is killed by another lover, J. Carrol Naish, who in turn
is shot by Warren in self-defense. After a trial, resulting in
his exoneration, Warren sails for Europe with his wife and son
(Dickie Moore). Andy Devine, the family chauffeur, adds
humor. Good performances offset trite plot.

THE chief weakness in this picture is the story. It's about
a typical group of wealthy people on a round-the-world
cruise. Sally Eilers, who pursues ship's officer Charles Starrett.
is pretty enough to cause trouble. Henrietta Crosman is de-
lightful as matchmaker for ZaSu Pitts, the most divinely funny
goof in the world. Remainder of cast comparatively uninter-
esting. Mediocre film fare.

ONE IS

GUILTY—

Columbia

SIDE

STREETS—
First National

ON the night of an important fight, the heavyweight
champion is found murdered in a vacant apartment house.
Inspector Ralph Bellamy gives a distinguished performance
unravelling this story, which is incredibly obvious The
great mystery is how Director Lambert Hillyer managed to
make it as interesting as it is. Shirley Grey and Rita LaRoy
are the women involved.

ALINE MacMAHON gives an excellent characterization
as the love-starved woman who befriends, and later marries
Paul Kelly, a jobless sailor. Her tolerance of Paul's indis-
cretions is finally rewarded by his awakening. A fine cast,
including Ann Dvorak and Patricia Ellis. Direction of this
very human tale is well handled by Al Green.

[ ADDITIONAL REVIEWS ON PAGE 121 ]

By Jane
Hampton

Now whenever John-
ny speaks, Lupe says,
"Yes, darling." She
cooks his food and
darns his socks. To
save their marriage
she has become his
give-in mama

Lupe and Johnny
were LOVERS

They done each other

Lupe and Johnny were lovers.

And oh, my! my! how they fought.

He was her man.

And he done her wrong —

(In three places and Lupe will show
anyone at any time the scars left from
Custer's Last Stand. Well, just ask her and you'll find out.)

wrong: But Lupe
relented. Now peace
and Johnny reign

WHICH means, boys and girls, that one of the strangest,
most hilarious wars ever waged on any high class
battlefront has been waged right here in Hollywood.
The war of Lupe and Johnny.

How they fought! And how they loved it! Hollywood con-
stantly reverberated with the rumblings, from yon green
Verdugo Hills (you can see Catalina on a clear day) to the
lapping surf of the old Pacific, while seething news from the
front kept pouring in:

"Lupe is gaining!" "Johnny is retreating!" "Johnny is

gaining! " and "Lupe is hurling bombs! "
" The tanks are approaching and Johnny
is caught in the enemy's barbed wire!"
Oh, my dear, it was too awful. And
too grand. And now comes the newest,
hottest, latest news from the front.
It's over. A truce has been signed. The war, I tell you, is
ended. Except, of course, for a few minor skirmishes that may
break out from time to time. And guess who won. No, wait,
I want to tell it myself. The startling, amazing dispatch
brings the news that Johnny is the winner! Popee (as Lupe
calls him) Weissmuller himself. And Lupe concedes the vic-
tory, throws in her bayonet (and it is only an accident, mind,
that it nearly tears off Johnny's scalp when she does it) and
admits the truth.

"Johnny wins. I will not lose my beeg husband for a leetle
fight. (And if that was a "leetle" fight, the Civil war was
just a bean-shooting match.) [ please turn to page 98 ]

DRAMATIC
FASHION
CUES

PEPPERY dash of old Mexico in this
swaggering summer hat of Ginger
Rogers' — it's a sombrero of panama with
a vivid chin strap of striped cord to
match the belt on Ginger's white sports
dress. Orry-Kelly is the deft designer

MAE CLARKE has a flare for unusual
costume accessories — she wore this
lariat" necklace with a white sports
dress recently. Ropes of bright beads
are looped through metal ornaments
and Mae wears them in diverse effects

THERE'S no need to be stereotype about wearing flowers for evening
if you follow the lead of the two charming stars above. Mae Clarke
wears the small blossoms of gardenias attached to her bracelets and one
large one fastened to her gown at front. These may be fresh or artificial.
Jean Muir pins a cluster of little fresh rosebuds in her hair behind
one ear. More buds, pinned to ribbon bands, make enchanting bracelets

THIS isn't a close-up of pieces
of a diamond rattle snake — it's
some new jewelry worn by Patricia
Ellis! A bracelet, pin and finger
ring in black and white composi-
tion have the unique rattler design.
Worn as a set with sports clothes

* * * I

WIDE brims have assumed a reckless gaiety this summer.
If you doubt me, gaze directly above at Minna
Gombell's giddy topper. The whole brim, wide as it is,
suddenly dips over her forehead, half showing a bandeau
of flowers beneath. The panama-like straw is white

BRIMS SHADE
FAMOUS EYES

Nt<v\:

■

*e'

NOTHING is so cool
for summer town wear
as the dark sheer cotton
suit. Sylvia Sidney wears
this charming one in
"Thirty Day Princess."
The Eton jacket has short
sleeves, ruffle trimmed

LINEN is as smart for
hats as it is for costumes,
so Kathryn Williams had
a white one made to match
her dress. The stitching
on the brim and the con-
trasting banding stress
the colors of her dress

THE medium brimmed hat with hardly any crown
at all is the choice of Sally Eilers foF the daytime
costumes she wears off-screen. This one, above, is
black with cire satin ribbon as the sole trimming.
It's a flattering style for Sally and for you, too!

COTTON GROWS
IN POPULARITY

l/ATHRYN WILLIAMS
>>seems to be partial to cot-
ton hats. This rough linen one
with curving brimline will be
seen in "Where Sinners Meet."
Stitched fabric tab and a large
linen-covered button make
effective trimming details

A PERFECT type of tailored
i\ cotton suit is this yellow
linen one of Jean Arthur's.
The jacket has Norfolk lines.
The metal buckle is distinc-
tive. Tan, brown and yellow
striped linen forms the blouse.
Jean stars in Whirlpool"

- «

% - 1

V ^

V. -. "v

. * ,
•
•

nililtlk \

" • \

h-- 1

EVEN though Sylvia Sidney is a "Thirty
Day Princess," her beautiful wardrobe is
not beyond your reach because a number of
her most stunning costumes have been copied
for you. Here is one — a lovely white eve-
ning gown printed with small red and yellow
flowers. The neckline is made like an Eliza-
bethan ruff, but smaller. Note the red buttons

CURPRISE! Did you guess that such a
Odemure front could have such a daring
back? Sylvia's red sash slides into a large
bow of the dress fabric at back. The skirt, so
slim in front, sweeps out into a graceful train.
Be sure to study her jewelry — the three
jeweled bracelets on each arm, the twin rings
and the jeweled bandeau with star ornaments

HOLLYWOOD

FILLS YOUR

SUMMER DANCE

PROGRAM

';*§j

GENEVIEVE TOBIN wears a stunning printed crepe frock
at teatime in "Uncertain Lady/' which all of you may wear
for informal summer dances. It has brief sleeves edged with
the same dark pleated taffeta that makes the enormous and
flattering jabot under her chin. A stitched belt of the taffeta

THERE'S no better way to test the chic
of an evening gown than to see it in
action on the dance floor. From the
rapt expression on John Miljan's face he
must think that Genevieve Tobin is a
real vision. Note fullness in the skirt

TULLE over crepe gives a ravishing
effect to the same tulle gown you
see dancing above. Genevieve Tobin
wears it in "Uncertain Lady." At right,
you see the way great ruffles of the
tulle make a soft fullness on the arms

- J#

I THREE GOOD SPORTS!

A SCENE from "Uncertain Lady"
shows Renee Gadd wearing
this grand golf costume and giving
advice in no uncertain terms! The
dress is two-piece with the blouse
buttoning down the front. Renee
tucks her scarf into her collar

HOLLYWOOD

CINEMA

FASHIONS

here sponsored by PHO-
TOPLAY Magazine and
worn by famous stars in
latest motion pictures, now
may be secured for your
own wardrobe from lead-
ing department and ready-
to-wear stores in many
localities . . . Faithfu
copies of these smartly
styled and moderately-
priced garments, of which
those shown in this issue
of PHOTOPLAY are typ-
ical, are on display this
month in the stores of rep-
resentative merchants

A SPORTS classic-the
' \ striped silk shirtwaist dress.
Billie Seward, a new young star,
chooses hers in green and white.
The scarf collar ties either high or
low, the sleeves are short and
the pocket boasts a monogram.
A brimmed white panama hat

THE dark blouse with light skirt is a favorite com-

• bination for sports in Hollywood. Minna Gombell,

appearing in "Strictly Dynamite," picks the good

looking outfit, at left, in two shades of cotton pique.

The collar has a tricky hidden slide fastener opening

--":■: kV

HALPH BELLAMY pauses
l>between scenes to have a
cigarette. And smoke gets in
your eyes! For Bellamy is one
of the most attractive men on
any set. His latest picture is
"This Man Is Mine," with
Irene Dunne. The title applies
to Ralphs private life as well
as the movie. For he is known
as one of the most happily
married men in all Hollywood

Ernest A. Bachrach

Earl Crowley

YOUNG love in the machine age! But put Buster Crabbe and
Joan Marsh side by side in any setting, and it would look romantic.
Buster and Joan climbed aboard a piece of studio equipment just
off-set to watch shooting of one of the final scenes in "You're Tell'
ing Me." They surely seem to enjoy seeing other players work

(ret A Comedian, Quick !

Taurog needn't worry. He made
"Skippy," "The Phantom Presi-
dent," "A Bedtime Story"

HAVE you ever heard of the
CRA? (No relation to the
NRA.)

It's not an official body,
yet it does more for pictures than any
recognized organization. Annually,
the CRA rescues more pictures than
life-guards do humans. To belong to
this club, one must be a very benevo-
lent fellow, ready and willing
to give his all in a good cause.
Funny part of it is, the
members don't even know
they belong to the club. But
we directors know. CRA
means Comedy Relief Artists
— those droll comics who are enlisted in the
great cause of saving pictures by making people
laugh. Whenever a Hollywood picture director
is seen holding his head in his hands, with a far-
away, wistful expression, it means that he is all
set to yell for the good old CRA to help him out,
quickly. And the phones get busy.

Who's afraid of the big, bad story? Not we.
That is, not when we can make a quick call on
the CRA laugh providers for first aid. What
they can do for a story, which is inclined to be a
bit stilted, sag in the middle or go to sleep grad-

When a picture worries
a director, he phones
a member of the CRA

By Norman Taurog

Paramount Director

ually, is not only a boon to directors, but to humanity as well.
Actually, most of these comics deserve the highest billing in
their own right, but they are much too wise to risk the pitfalls
of widely-ballyhooed stardom. They shy like a skittish horse
at a leaf.

They draw star salaries — in many cases much more than the
stars they support. And the exhibitors always co-star them in
the electric lights, anyway. So what else matters?

The CRA boys and girls remind me of
those unsung heroes in football, the
blocking backs who make it possible
for the stars to run to touchdowns,
glory and headlines.
There are two CRA honor rolls.
The first roll features ten picture
savers who have star rating in
the minds of the public, whether
or not they have it on paper.
The second roll features ten
up-and-coming comics who
are now indispensable to
pictures.

Here are the two
lists:

1
Edward Everett

Horton
Jimmy Durante
Charles Ruggles
Chic Sale
ZaSu Pitts
Edna May Oliver
Ned Sparks
Slim Summerville

ZaSu Pitts' droll style

of comedy can make a

really fine movie of a

slow story

Durante is not merely a
comic, he is a careful and
conscientious worker, an
actor

Roland Young
Jack Oakie

Edward Everett Horton, master of

subtlety, plays comedy with rare,

unexcelled finesse

Mary Boland Pert Kelton

Charles Butterworth Guy Kibbee
Andy Devine Frank McHugh

Leon Errol May Robson

Stuart Erwin Alison Skipworth

One may well say: "Where is W. C.
Fields?"

Well, that rare droll would be head-
ing the list along with Horton and
Durante, if it were not for the fact that
Paramount is giving him full star
billing.

Of the CRA, I am perhaps best
qualified to discuss Edward Everett
Horton and Jimmy Durante, because I
have directed both comedians. Differ-
e n t a s [ please turn" to page 102 ]

For even as a tot Mary Astor remembers the neigh-
bors pausing on the street to pat her tiny red head and
sigh to her parents, "My, she's beautiful! It doesn't seem
right for a child to be so pretty. Just too beautiful!"

Too beautiful to hear about anything else as a child;
too beautiful to be like other kids; too beautiful to
even finish her school days.

For right before her fourteenth birthday, a national
beauty contest named her runner-up; and right after
the birthday she made her debut on the screen, putting
up her hair for the first time for the role.

The contest was much publicized. Indirectly, it
was responsible for the picture offer for Mary to play
the beautiful "Beggar Maid" in a color picture based
on Burne-Jones' famous painting.

"The Beggar Maid," although only a two-reeler,
was sensationally successful. It was held over for
weeks at one of the leading New York theaters, and
made more money than any previous picture of its kind.

"CVERYONE asked who the beautiful new girl was.
^-"'Motivated purely by her ravishing beauty on the
screen, the old Famous Players-Lasky studios called
Mary to Hollywood under contract. They didn't
know whether or not she could act, and didn't care
much. She was beautiful. That was enough.

For a long time, she was referred to around the lot
as "that beautiful new girl from New York," and
around Hollywood as "the new Lasky beauty."
Seldom as "the new actress" — and rightly, because
Mary Astor, fourteen-years-old, immature and inexperienced,
wasn't an actress by any standard. She was a beauty.

And for the next few years, when beauty was very much in
demand in Hollywood, and acting merely a sometimes helpful
accessory, her classically sculptured features and big brown eyes
did all right by Mary Astor. She rose to the most important

Her Face Was Her

MISFORTUNE

THIS is the story of a girl who
was too beautiful.
Too beautiful to become an
actress!
That is, until just recently when
Mary Astor, after fourteen years, has
finally blasted the jinx of Venus which
has dogged her since she was a child.
At last she has overcome the handicap
of flawless features to "come back,"
after her perfectly pretty face had al-
most relegated her to the movie scrap
heap — impossible as it sounds!

It's quite an amazing story, because
it upsets all accepted theories of screen
success. It scatters printed rules into
an alphabetical puzzle, and for a long
time it had Mary herself wondering just
what the solution could be. Now, she
thinks she knows. Knows how to
escape this unusual "curse" of beauty.

In "Jennie Gerhardt,"

her art had ripened to

match her charm

"Holiday," with the late Robert Ames,

was Mary's first real acting chance.

But Ann Harding eclipsed her

leading lady parts on the screen. She demanded the
highest salary of any leading lady in Hollywood. Pro-
ducers pleaded with her to star.

Beauty did it all. She coasted through some of the
biggest pictures of the silent days on pure pulchritude —
unadulterated by acting.

She was always the lovely heroine, the beautiful prize
for whom the rest of the actors struggled.

CHE supplied the eye appeal. The actors worked
^up the interest.

She was the lovely foil for Richard Barthelmess in
"The Bright Shawl," the languishing Lady Margery for
John Barrvmore in ''Beau Brummel," and his sweet
influence in "Don Juan." The decorous damsel back-
drop for Douglas Fairbanks to impress with his stunts
in "Don Q, Son of Zorro." Fifty or more other posey,
beautiful objects of art in fifty or more of the same
passive parts.

"I never knew what acting meant," Mary confesses.
After all that experience, after eight years on the screen,
she still didn't know what it meant!

She had never had a chance. Her beauty held her
back — stood like a wall between her and any oppor-
tunity for development. Beauties, Hollywood then
decreed, shouldn't be funny, shouldn't be tragic,
shouldn't be anything but — just beautiful.

Today, Mary Astor is just coming back from the
disaster which inevitably resulted.

Talkies came in and her career was suddenly
blasted; her position vanished. Mary was amazed
and helpless in the face of the new condition with
which she was absolutely unprepared to cope.

Her test with sound was as beautiful as ever, but
her voice delivery was awful. She didn't know the
first thing about reading lines. No technique. "I

For many years Mary Astor
had to fight the curse of a
beauty so perfect it kept
her from beina an actress

By Kirtley Baskette

By the time she appeared in "Red Dust," with

Gable, Mary was doing everything possible to

down her beauty contest reputation

She recently finished "Easy to Love," with Menjou. In

it, she reveals the new beauty that is hers — a beauty born

of long struggle, experience, maturity

was scared to death," she admits.

And the fear grew when month piled upon month, and Mary
was among the missing on the studio call sheets. Suddenly
plunged from the top of the heap, down beyond the bottom.

This time down, because she was beautiful — only beautiful.

Where only days before big offers had swamped her, now
not a single nibble came for ten long months.

"I couldn't quite understand it all myself," she says. "I
even called up the studios and reminded them I was still alive.

" It was a tremendous blow to my ego, but it was good for me.
I finally had to take stock of [ please turn to page 1 16 ]

The subtlety of his art never has
been more clearly indicated than
in this portrait of Henry B. Wal-
thall as a surgeon in M-G-M's
"Men in White"

TWENTY years after he
made his greatest suc-
cess, the movies are
learning what to do
with Henry Brazeale Walthall.

Paradoxical, you may say:
this idea that a man could
achieve such a triumph as did
Walthall in "The Birth of a
Nation," then have to wait a
score of years to enjoy the full
fruit of that success.

And paradox it is. Wal-
thall's entire career has been a
paradox.

Since his magnificent per-
formance as the "Little Col-
onel" in Griffith's epochal pic-
ture, the movies have learned
how to talk, be sophisticated —
they've learned a thousand
things. But just now are they
finding how to use that peculi-
arly brilliant talent that is
Walthall's, that went wasted
through the rest of the years of
silent pictures and the first few
years of talkies.

Even in their infancy, when
"The Birth of a Nation" was a sudden and lone variation from
picture formula, movies were conscious of Walthall's ability.
That characterization was of inescapable feeling and poignancy.
But in that silent childhood, the movies could only wonder:

"Now that we've got this Walthall, what are we going to do
with him?"

The chance for the actor was not large. It was a day of
stereotyped stories, collar-ad men and clothes-horse women.
Griffith might go against type in casting lead roles, buck the
conventions in story style, but who else could get by with it?

The Little Colonel
Marches Back

Walthall had one glorious role, then
came long, heart-breaking obscurity.
But talkies have "rediscovered" him

By Ruth Rankin

Several producers rather timidly aimed Walthall at the public

again, in leading parts. Usually his roles were grotesque, and

the pictures pretty terrible. After a few such experiments,

Henry B. was relegated to the estate of a supporting

character player.

And now, when you see him as the compassionate

revolutionary leader, Madero, in "Viva Villa," you

will see a characterization that all but eclipses his

memorable performance in "The Birth of a

Nation."

"You cannot call it a comeback," says Wal-
thall in his quiet, dignified manner, "because I
have really never been away."

He says it with courage, without bitterness.
No, he has never been away; just deprived of his
rightful place — the position to which his ability
entitles him. And for twenty years he has plugged
along, never for one moment losing his faith,
losing sight of the hope that one day there would
be another character equally compelling, equally
measured to his individual capacity, as his " Little
Colonel." [ please turn to page 95 ]

The "Little Colonel" in his
glory ! Walthall, as he ap-
peared in Griffith's "The
Birth of a Nation," two
decades ago

Walthall's role of Madero, in "Viva Villa" with

Wallace Beery, is the finest chance he has had

since the "Little Colonel" part. And Henry B.

makes the best of it!

PHOTOPLAY'S

ULolujwood Jjeaidu Shop

Conducted By Carolyn Van Wyck
All the beauty tricks of all the stars brought to you each month

Greta Nissen designed and sketched these unusual
coiffures for herself. Above, from a left part, hair
is separated on crown of head, rolled forward over
a long pencil, pinned in place. Back ends are fluffed
and bangs worn straight. Left, Greta's hair is parted,
drawn tightly off ears, ends loosely curled, top curled
in tight ringlets, caught with garland of flowers.
Right, hair is brushed smoothly off face, caught
with a small band, ends curled all around head in
close ringlets. All are perfect hair tips for that next
party and sure hits

Be Your Own

■HEN we think
of the Holly-
wood stars, we
are all, very

likely, inclined to think of

them as a few blessed by

beauty and good fortune.

But born beautiful or not,

every star, like every one

of us, must work and

struggle to make the most

of her looks. And here is

the lesson that every star

holds for you. If you want

to make the most of your

looks and charm, you must

learn to work on yourself.

No one else can do it for

you. The whole matter is

entirely up to you. Others

can suggest, comment, and

help you to a certain de-
gree. But after that, the

whole business is in your

hands.

In the past few years, I

have met many girls from

all walks of life, who've la-
mented over the fact that

the times did not permit

their favorite wave sets

and manicures. On the

other hand, I've met many

stars who preferred to do

just these things for them-
selves.

The first time I ever met

Irene Rich, she appeared

in a lovely yellow negligee

with her hair pinned close-
ly about her head. She

explained that she always

preferred to do her own

shampooing, and just be-
fore I had arrived she had

had a few minutes to her-
self. After washing her

hair, she dampened it with a tonic, pushed in the waves, pinned up a few

curls, and that was that. Miss Rich has beautiful hair, as you've perhaps

noticed in pictures. That was her trick. She had learned the curves that

were natural and becoming for her hair, and the
rest was easy.

If we learn to do our hair, skin and nails,
we are insured so far as our looks are concerned.
A flat pocketbook, lack of time, or location
where there is no outside beauty aid, need not
frighten us. We may still look well groomed
and charming. Because, in spite of certain
ideas, a lot of money is not necessary to good
looks.

When Helen Vinson was posing for pictures
the other day, she excused herself a few minutes
to replace her nail lacquer. And she did a grand
job. Helen prefers a full rose shade, which is
lovely with her warm skin, brown eyes and
golden hair. She also told me of a shampoo that
is ideal for light hair. Two of her skin beauty
treatments are milk and the white of egg. These
are separate treatments. After cleansing, pat
the milk gently over your face. Let it remain
until it has dried, then rinse off in cold water.

Early rising and a big stretch start a

good day, believes Thelma Todd.

Stretching awakens you, starts good

circulation, peps you up

Irene Bentley's latest find is a
tissue gadget containing powder,
rouge, lipstick. Ideal for quick
make-up and guest room
convenience

The newest way to
perfume your ward-
robe is through bag
sachets with a loop to
slip over the hanger.
Wynne Gibson keeps a
sachet on each hanger
for perfuming

Fay Wray uses a tiny
comb to separate her
lashes in a silky fringe.
Especially advisable
after using mascara,
when lashes often ad-
here together. Combs
come for this

Beauty Expert

This is a marvelous toning and softening treat-
ment, and will benefit every type of skin.

Then there is the white of egg treatment, to
be used, at the most, only once a week, because
it is highly astringent, but wonderful for virtu-
ally lifting, toning and refreshing your skin.
It is especially advisable for the oily type. After
a good cleansing, preferably with cream, beat
up the white of an egg and apply this all over
your face. Let it dry, then rinse away in cold
water. It leaves you radiant, and is suggested
for those sudden dates when you want to look
your loveliest and haven't time for a profes-
sional facial. Helen also uses one of those eye-
lash curling devices, as does almost every star.
It's amazing how your lashes seem to thicken
and show when they're curled upward in a
fringe. This trick takes only a few moments
with a modern little device.

Jean Harlow's skin is about as perfect as you
will ever see. Her care is very simple, too.

After make-up, Phyllis Barry con-
siders the use of a blending brush
very necessary for perfect coordina-
tion of rouge and powder and a
lovely effect

First, she removes all
make-up with cream, then
washes with a mild soap
and water, following with
a rinse in ice-water. Al-
most every normal, young
skin will benefit by exactly
this treatment. It is al-
ways advisable first to use
cream to remove make-up.
And the second step of
soap and water really
leaves you immaculate.
This is the cleansing ritual
of most of the younger
players.

If your skin is very thin
and dry, you will probably
find this treatment a little
too rigid. In that case,
experiment, until you get
just the right balance be-
tween cream and soap and
water. Perhaps you will
find you can use cream
every night, followed by
soap and water every
other night. But you
really can't beat that
combination of cleansing
cream and soap and water
in the right balance.

On the nights when you
use the cream alone, be
sure to remove it thor-
oughly. If you don't, the
finest of cream can cause
skin difficulties, because
it is soiled cream that will
remain on your face. A
good test for creamless
skin is to run your freshly
washed fingertips over
your entire face. Your
sense of touch tells you
whether or not the cream
is well removed. If it is,
water. Cold water on clean

then give your face a good rinsing in very cold
skin is a great beautifier.

If your skin is dry or roughened in spots, you can always apply a little

The most satisfactory
way of using any nour-
ishing cream is to pat
it lightly on the skin.
Phyllis Barry uses a
special patter. Your
finger tips are the next
best substitute

If you long for the
allure of misty, dewey
eyelids, follow Miss
Barry's example. Dip
a cotton-swabbed
orangewood stick in
sweet or castor oil and
lightly paint eyelids

If you will hold your mouth like
Phyllis does when applying lip-
stick, you will carry rouge well
between the lips

Lovely Looks the Head
That Wears A Halo

then pat the feeding cream
gently all over it, except the
nose, unless it is dry and scaly.
Usually noses have more than
their share of oil and don't
need encouragement in this
direction. After an hour or so
remove that cream, so that
you sleep with a clean face.
Your bath tub is another op-
portunity for the feeding
cream treatment. Apply it to
a cleansed face before you step
into your bath. Even a few
minutes in an atmosphere of
steam and warm water will
make it work for you.

Last month, in my depart-
ment, Alice White showed you
an entire routine for making
soft curls that would challenge
a hairdresser. Alice has a
medium bob with soft bangs,
but you can use her method
on any bobbed hair. Alice
dampens hers with warm water
or a light lotion, twists the
bangs and sides in small, flat
twirls, catches each with an
invisible hairpin, then rolls up
the back on kid curlers. She
allows an hour for drying, al-
though you can do this in less
time. The pin curls and kid
curlers do a beautiful job.

[ PLEASE TURN TO PAGE 92 ]

Marjorie Lytell's coiffure, created by
Mel Berns and called the Berns Halo,
is hailed by us as an angel of an idea.
Simplicity is the motif of the front view,
while sides and back go in for design,
as you see

nourishing cream there and sleep with it
on, if you don't do it too often. As a rule,
I don't approve of sleeping with a lot of
cream on the face. The eyes, however,
are an exception. Even the young girl
will do herself a good turn by using just
a little cream here, over and under the
eyes. You know how little lines form,
even when we are very young. It's
because this skin is very sensitive, and
facial expressions cause it to line and
wrinkle more rapidly than anywhere
else. Even if you haven't a line, this
nightly care will assure young, unlined
eyes ten or fifteen years hence.

Many skins certainly need nourishing
cream, but here is the way to use it.
When you are about your home with an
hour or so to spare, cleanse your face,

The back view of Mar-
jorie Lytell's head
shows beautiful har-
mony of line. The
plain hair is shadow-
waved and broken by a
few ringlet curls. The
importance of back
hair can't be over-
stressed

Mae Clarke's new, soft
hair arrangement gets
a big hand from us.
Good for many types,
too. Those tiny un-
curled sideburns are a
nice touch, and that
coral clip and matching
ring ?re a new and
chic conceit

MISS ALICE AND MISS MARY BYRD

BOTH SMOKE CAMELS.. .BUT FOR DIFFERENT REASONS

HERE ARE THEIR PREFERENCES

FOR CAMEL'S COSTLIER TOBACCOS

"I want my cigarette to be
mild," Miss Alice Byrd in-
sists.

"I like a cigarette that
has some body without be-
ing harsh or strong," says
Miss Mary Byrd.

"I enjoy Camels' flavor,"
continues Miss Alice, "and
I never need watch how
many I smoke. Camels never
make me nervous."

"Such a smooth, round
smoke — it tastes equally

good indoors and out," con-
cludes Miss Mary.

Mildness, smoothness,
finer flavor, and no bad ef-
fects on the nerves — those
are the things both men and
women want in the cigarette
they smoke. They get them
in Camels. Camels are made
from finer, MORE EXPENSIVE
TOBACCOS than any other
popular brand. Get a pack-
age today and see for your-
self.

lice and Mary rSyrd are
cousins of the former Gov-
ernor of Virginia who is now
in the United States Senate.
They live on a famous Virginia
estate, Upper Brandon, on the
James River. The beautiful old
house, with historic boxwood
hedges eight feet high, domi-
nates the same three thousand
acres originally cut from the
parent plantation, Brandon.

The two sisters made their
debut in Richmond but they take
an active interest in the crops
and are in the saddle most
of the day, riding their acres.
They have five saddle horses,
one of which is unnamed and
called simply "My horse" but
all their four dogs boast given
names. Both sisters smoke
Camel cigarettes and for dif-
ferent reasons.

'Tcr6cooco6 cote. /Hc/cczA.

CHANGE OF HEART

ith

JAMES DUNN
GINGER ROGERS

Produced by WINFIELD SHEEHAN

Directed by John C. Blystone. From

the novel "Manhattan Love Song"

by Kathleen Norris

ft**

Ask Th

e / mswer

A PAIR of nimble feet has taken the
country by storm and Hal LeRoy is
the proud owner and manager of them.
Letters began pouring in after Hal had been
spotted in a couple of Vitaphone shorts and a
dancing specialty in "Wonder Bar." His
curly blond hair and cute smile also caught
the fancy of the young girls and they insist
upon knowing all about him.

As everything has a beginning, Hal had his
in Cincinnati, Ohio on December 10, 1913.
His real name is LeRoy Schotte, with a good
old German pronunciation. When he decided
to carve out a career for himself he borrowed
his brother Henry's nickname, which was
'"Hal" and with his own first name, became
Hal LeRoy. He had it all figured out that
that name would be much easier for people to
remember. His father, George Schotte, is his
business manager, chief adviser and constant
companion.

Hal never took a dancing lesson in his life.
He picked up his first steps by watching the
colored lads doing their "stuff" on the side-
walks of Cincinnati. Later he created his own
steps. He seldom ever follows the same
routine twice. Makes up his routines as he
goes along.

Hal has appeared in night clubs, vaudeville,
the Ziegfeld "Follies" and "Strike Me Pink."
"Harold Teen" is his first feature length pic-
t ure.

After a personal appearance tour, he will
be back for more pictures on the Warner lot.

Henry McConkey, Auckland, New Zea-
land.— Many thanks for the nice newsy letter,
Henry. I thoroughly enjoyed reading it. The
principal players in "For the Term of His
Natural Life" made in Australia in 1927, were
Eva Novak, Arthur McLaglen, George Fisk,
Kay Souper and Marian Clark. Kay Francis
was Ronnie Colman's leading lady in
"Raffles." In "The Black Watch," David
Rollins played the part of Vic McLaglen 's kid
brother.

Marilyn Beatherby, Madison. Wis. —
You're right, Marilyn, the Charlotte Henry
who played in "Alice in Wonderland," is the
same Charlotte who played the leading role in
"Lena Rivers" in 1931.

Grace Cira. Marion, Ia. — Mae West was
born in Brooklyn, New York and that hour-
glass figure tips the scales at 120 pounds.

Janet Nowi rv, Pittsburgh, Penn. — Ruby
Keeler was born in Halifax, X.S. She and Al
Jolson were married September 21, 1928. It
is Ruby's first marriage and Al's third. Ruby's
next picture is " Dames" in which Dick Powell
will be her leading man.

N. L. Kawilakanc, Java, Dutch East
Indies. — Gary Cooper and Sandra Shaw were
married December 15, 1933. Gary is now-
appearing in "Operator 13" with Marion
Davies. Janet Gaynor and Charles Farrell
are appearing together in "Change of Heart."

Adelaide Read, River Forest, III. — I
didn't get your letter in time to answer it in

Hal LeRoy and Eddie Tamblyn compare notes on the newest collegiate dance

steps. Hal is giving Eddie's demonstration very serious thought. Both boys

appear in the picture version of Carl Ed's comic strip, "Harold Teen." Hal

in the name role and Eddie as the little pest Shadow

the May issue. Douglass Montgomery was
the lad who played the role of Laurie in "Little
Women." Katharine Hepburn was born in
Hartford, Conn. She has been in pictures
since July 1932.

Katherine Robinson, Laukenceburg, Ky.
— My, what staunch admirers this Crosby lad
has. Bing's latest picture is "We're Not
Dressing." The cast includes Carole Lombard,

Redd This Before Asking Questions

Avoid questions that call for unduly long an-
swers, such as synopses of plays Do not inquire
concerning religion, scenario writing, or studio em-
ployment. Write on only one side oi the paper.
Sign your full name and address. For a personal
reply, enclose a stamped, self-addressed envelope.

Casts and Addresses

Burns and Allen and W. C. Fields. Patsy
Kelly played the role of Jill in "Going Holly-
wood." Her latest picture is "The Countess
of Monte Cristo," and her next will be "The
Party's Over."

Pauline Phillips, Lima, Ohio. — Don't let
tilings bother you Polly, just drop me a line
when you want information on pictures and
players. Paul Gregory played the role of
Wauo: is, the handsome Indian lad in
"Whoopee." He also played the same role in
the stage production. How the girls fell for
that dusky-skinned hero!

Mary Rathis. Apai.ac hicola, Fla. — Sorry
1 can't play favorites, Mary. Besides, I think
all the actresses are very lovely, each one in
her own individual way. Don't you agree?

Clark Simpson, Oneida, N. Y. — Bill Haines
gave up acting to devote his time to interior
decorating. Just now he is in Europe on a
vacation. Conrad Nagel is reading over plays
with a stage engagement in mind.

Choice Hollywood Recipes

Mr. Woolf prepares "Spare Ribs a la May Robson," one of the dishes which cause
guests to shout praises o'er all Hollywood for this celebrated epicurean

TvTEVER have I looked at a cook book. In fact, I am firmly
■*■ ^ convinced that I cook everything wrong, but somehow
"the Woolf" does get results. Dinner guests always play a
return engagement.

Though I have had innumerable scenarios produced by
M-G-M and have written presentations for all their stars, I'm
known out here principally for my Baked Beans. In fact, I'm
seldom invited out without being asked to bring a pot of
beans. And, incidentally, I wish these Hollywood hostesses
would return my bean-pots.

Well, here goes for the Woolf beans. First soak them over-
night. Then boil in salted water until, when you blow upon
the little beanlet, its jacket opens right up in your face. Then,
just from habit, put the beans in a bean-pot. But mark ye
well, do not throw the bean water away, as you will use it later.

By Edgar
Allan Woolf

One of the film capital's most
popular hosts and raconteurs

Brown four onions in a quarter
pound of butter (for two quarts of
beans). When a golden brown,
pour half a bottle of catsup into
the pan, add five heaping table-
spoons of brown sugar, a slack
teaspoon of mustard, another of
salt, and white pepper. Pour
this mixture into bean-pot and
stir well.

Lay a piece of salt pork ten-
derly on top, put the cover on the
pot and shove into a moderate
oven, where you leave it for about
five hours.

Now here's the trick! The bean
water, which is usually thrown
away, is added, little by little,
every half hour or so, as you find
the liquid growing less.

AVOCADO A LA NORMA
SHEARER — A delicious entree.
Slice in half a good size avocado
and take out the seed. Now
some fresh or canned crab meat,
added to a thickening sauce made
of one cup of cream and the yolk
of an egg. Stir yolk and cream
constantly in a double boiler. Be
sure the water in the outer boiler
does not touch the bottom of the
inner pan.

Mix sauce with crab meat, add
pepper, salt, a mere dash of
Cayenne, and a large tablespoon of
Sherry wine. Cover the avocado
halves with this mixture and
spread grated cheese all over
them. Place in oven until cheese
is well browned.
will you please give a fellow a ring?

When you make this
I have no dates for next week.

I'm only going to give you one more, on account of that's
all I have room for. SPARE RIBS A LA MAY ROBSON—
Put the ribs in a pan under a high flame for a short while,
turning them to brown crisply on both sides. Now put them
in a roaster and pour in two cups of vinegar and one cup of
catsup, pepper, salt and Cayenne, and let them simmer with
the top on your roaster or preferably Dutch oven, for at least
an hour, taking care to baste the top ones quite frequently.

Simple as it sounds, my spare ribs have brought me offers of
marriage from some of the Countesses, Princesses and Lady
So-and-So's who flutter around here. I'd like to hear from any
beautiful young girl in search of a meal. I'm game.

Photoplay Magazine ton June, 1934

I THINK LUXISSWRL
FOR STOCKINGS

"Lucky for me when I beard about
Lux! Before that, stocking rum
nearly drove me wild. At first I
didn't believe just washing stock-
ings with Lux every night would
make any difference . . . but honestly,
since I've sivitched to Lux and cut

out cake-soap rubbing, my stockings
last ever so much longer. And they
fit better, too. People tell me it 's be-
cause Lux saves stocking elasticity.
J guess it does all right, for I know
that Lux cuts down my runs. It will
cutyours down, tool"

ut down YOUR runs the Hollywood way . . . When
stockings go into runs almost without reason, it's apt to
mean you've weakened their elasticity. Then, instead of
giving under strain, threads tend to snap— runs start.

But Hollywood stars know that there's one easy way to
save stocking elasticity. Just Lux stockings after every wear-
ing. Lux has none of the harmful alkali so many ordinary
soaps have, and with Lux there's no need for injurious cake-
soap rubbing. These are the things that ruin the precious
elasticity that makes stockings^ and wear.

Why not try Lux for your stockings? Then keep a record
and prove to yourself how Lux cuts stocking runs way down!

Specified in all the big
Hollywood Studios

"All the washable costumes on the
lot are Luxed because Lux is so
safe," says Rita Kaufman, wardrobe
supervisor in the Fox Studio. "It
protects the colors and the mate-
rials, keeps costumes new longer!
It works such magic that I'd have to
have it if it cost five times as much!"

4*vlluuxnw sSatM- Don't Trust to Luck -Trust to LUX

Cal York's Monthly Broadcast from Hollywood

CONTINUED FROM PAGE 37 !

TT was only two years ago Marie Dresslei
was gaily receiving the Motion Picture Acad-
emy of Arts and Sciences award as the best
actress of the year 1931.

Katharine Hepburn startled the country
with her acting and she won the award for
1933. It was quite a galaxy which received the
awards with Katharine. Charles Laughton was
voted the best actor for his work in "The
Private Life of Henry the Eighth." The best
direction award went to Frank Lloyd for
"Cavalcade." "Cavalcade," a Fox picture,
also was voted the best production. It figured
again in the best art direction award, whicli
went to William Darling.

Robert Lord's "One Way Passage" was
voted the best original story, with the best
adaptation voted to Sarah Y. Mason and
Victor Heerman for their work on "Little
Women."

Charles Lang did the best photography, the
Academy decided, with "A Farewell to Arms."
This picture, a Paramount production, was
voted the best in sound.

The three winning short subjects were "So
This Is Harris," a Radio comedy; " Krakatoa,"
Educational novelty; and that immortal
"Three Little Pigs," a Disney-United Artists
production. The scientific or technical excel-
lence award went to ERPI for its "wide range"
recording and producing system.

/^LARK GABLE came home from his pcr-
^"'sonal appearance tour minus dozens of
handkerchiefs, twenty-seven coat buttons —
and a dress-shirt sleeve. The crowd in Kansas
City was so dense that the crack train he was
on was delayed thirty minutes while the police
broke through the mob and got Gable aboard.
Tn Baltimore, police refused to let him sleep in
his own hotel ! A huge crowd had massed in the
corridor outside his room. He anticipated see-
ing many old friends in New York— but didn't
see one of them. He had no time, and they
couldn't crash through the crowds!

'"PHEY tell a grand story on Henry
Wilcoxon,the/4nior?t/inDeMille's
new "Cleopatra" epic. It seems shortly
after his arrival, Cecil summoned
Henry into his presence to discuss
the different characters. "Now, I
want to tell you exactly the kind of
man I think Caesar was," DeMille
said, and went into a long detailed
description. Half-way through, Wil-
coxon interrupted. "Just a minute,
Mr. DeMille," he said, "you needn't
go on with the description. You're
really just describing yourself in
detail, you know, and I can see all
that with my own eyes."
As usual, C. B. took it big.

A XX A STl'.X is much happier— but not
because of her tremendous acclaim in
"Xana." It is because the talents of her hus-
band, Dr. Frenke, have been recognized.

Dr. Frenke, who has been directing and pro-
ducing an independent picture for the past
several months, recently previewed it and
received somewhat hostile reviews. However,
the picture, "The Girl in the Case," was taken
East where it got "raves." Now Frenke has
been signed to make six more pictures, so it
looks like he and Anna will become permanent
Hollywood fixtures, each with plenty to do.

Another indication is the completion of a new
house in Santa Monica canyon. It's a small,
unpretentious ultra-modern style of house, but
it's just what Anna and her husband desired.
They don't entertain nor go out much.

A FTER playing with Carole Lombard
•^^in "Bolero," George Raft received
a gift from her — a slice of ham cut in
the shape of a heart.

TMAGINE Claudette Colbert's consternation
when she started reading up on the habits of
Cleopatra to find that the Siren of the Nile
never, never, except on very rare occasions,
wore anything at all from the waist up.

But, history has been covered up, so to spea k ,
and Claudette's face isn't quite so pink.

I PLEASE TURN TO PAGE 86 ]

After an absence of nearly two years, Harold Lloyd comes back to the screen in "The Cat's-Paw."

It is a comedy-thriller-romance. Una Merkel supplies part of the comedy, some of the romance.

Mr. Lloyd doesn't look any different, for all his vacationing, does he?

Photoplay Magazine for June. 1934

ARE TOO TIMID TO TELL HER . . .

8 1

and she /jcUm^M
a condition ABHORRENT to everyone

ENTRUST YOUR

You'd blush with humiliation . . . you'd
be shamed to tears if you knew how
needlessly you offend other people.

And you do offend them — you do lose
friends — when you permit perspiration to
go unchecked. For your own underarm
odor ... so unbearable to others ... is sel-
dom perceptible to you. Rarely do you
know your own offense.

Your underarms may even seem dry,
but perspiration moisture in the confined
armpits quickly forms an acid that ruins
dresses and turns . friends against you.
Even frequent bathing is never enough.

•in 73 countries all
Million, of women .. & harm only

over the W^^TSi proton,
to Odorono S *a certain.

Odorono ^ sore °n Hoosekeep-

,,s approved jy ond nurses

>"9. °"° USefeb no one think vou ««
everywhere. W "JV,^, » °dor°n°-
dainty • • ■

TO NOTHING LESS SURE THAN ODO • RO • NO

K you care at all what other people think,
you'll insist on a deodorant that's trust-
worthy and sure. You can trust Odorono
... a physician's formula ... to protect
you so completely that your mind is al-
ways free of all fear of offending.

ODORONO is Sure

And by checking, safely and completely,
all underarm moisture, it saves your
dresses from ruinous stains. Actually it
saves its cost fifty times a year, and all
year long it protects you from loss of re-
spect, loss of friends and social defeat.

Determine to get Odorono today. For
quick, convenient use choose Instant
Odorono. Use it daily or every other day
for complete, continuous protection. For
longest protection or special need, choose
Odorono Regular and use it faithfully
twice a week. Both Odoronos have the
original sanitary applicator. Both come
in 35c and 60c sizes.

ODORONO

fi^et/et ~7cu$ ^l/ou

• The Odorono original sanitary applicator is
easier and more convenient to use. It holds just
enough liquid ata time, and it is washable, too.

Rcth Miller, The Odobono Co., Inc.
I)ept.6-Q4, 191 Hudson St., New York City
(In Canada, address P.O. Box *3*0, Montreal)

I enclose 10c for a special introductory bottle of
Odorono with original sanitary applicator.
(Check the type you wish to try) . . .

D Instant Odorono D Odorono Regular

Photoplay Magazine for June, 1934

Addresses of the Stars

to <jct good snapshots now

with JIFFY KODAK
and VERICHROME FILM

THERE'S a new way to take snap-
shots— an easier way. With a Jiffy
Kodak . . . the smart folding camera
that's so simple to use.

At the touch of a button the Jiffy
leaps out — ready for action. A click of
the shutter and you've made a picture.

Smartly designed in metal and en-
amels— as trim as a lady's compact.
The, Jiffy comes in two sizes . . . for
2lA x 4'i inch pictures, $9 . . . for 254 x 3!4
inch pictures, $8. If it isn't an Eastman,
it isn't a Kodak.

YOU'LL get better pictures with
Verichrome Film. In the glaring
sun or the porch's shade— this film gets
the picture. The cheaper the camera . . .
the slower the lens — the more the need
for Verichrome. Load your camera with
Verichrome for better pictures. Eastman
Kodak Co., Rochester, New York.

Hollywood, Calif.

Paramount Studios

Brian Aherne
Judith Allen
Raymond Mi'iland
Joe Morrison
Dorothy Stickney
Adrienne Ames
Richard Arlen
George Barbier
Mary Boland
Grace Bradley
Carl Brisson
Burns and Allen
Kitty Carlisle
Claudette Colbert
Gary Cooper
Larry " Buster" Crabbe
Eddie Craven
Bing Crosby
Alfred Delcambre
Dorothy Dell
Katherine DeMille
Marlene Dietrich
Frances Drake
W. C. Fields
William Frawley
Barbara Fritchie
Frances Fuller
Gwenllian Gill
Cary Grant
Jack Haley
Charlotte Henry
Jay Henry
Miriam Hopkins
Roscoe Karns

Charles Laughton
Baby LeRoy
Carole Lombard
Ida Lupino
Helen Mack
Julian Madison
Joan Marsh
Herbert Marshall
Ethel Merman
Gertrude Michael
Jack Oakie
Gail Patrick
George Raft
Lyda Roberti
Lanny Ross
Jean Rouverol
Charlie Ruggles
Randolph Scott
Clara Lou Sheridan
Sylvia Sidney-
Alison Skipworth
Sir Guy Standing
Colin Tapley
Kent Taylor
Eldred Tidbury
Evelyn Venable
Mae West
Dorothea Wieck
Henry Wilcoxon
Dorothy Wilson
Howard Wilson
Toby Wing
Elizabeth Young

Fox Studios, 1401 N. Western Ave.

Rosemary Ames
Heather Angel
Lew Ayres
Jane Barnes
Mona Barrie
Warner Baxter
John Boles
Clara Bow
Charles Boyer
Nigel Bruce
Madeleine Carroll
Joe Cook

Henrietta Crosman
James Dunn
Jack Durant
Sally Eilers
Charles Farrell
Alice Faye
Peggy Fears
Stepin Fetchit
Norman Foster
Preston Foster
Ketti Gallian
Henry Garat

Janet Gaynor
James Gloason
Lilian Harvey
Rochelle Hudson
Roger Imhof
Miriam Jordan
Victor Jory
Suzanne Kaaren
Howard Lally
Frank Melton
Conchita Montenegro
Herbert Mundin
Pat Paterson
Will Rogers
Raul Roulien
Wini Shaw
Sid Silvers
Shirley Temple
Spencer Tracy
Claire Trevor
Helen Twelvetrees
Blanca Vischer
June Vlasek
Hugh Williams

RKO-Radio Pictures, 780 Gower St.

Fred Astaire
Nils Asther
Ralph Bellamy
Joan Bennett
El Brendel
June Brewster
Clive Brook
Tom Brown
Bruce Cabot
Mowita Castanada
Ada Cavell
Chick Chandler
Alden Chase
Jean Connors
Frances Dee
Richard Dix
Steffi Duna
Irene Dunne
Skeets Gallagher
William Gargan

United Artists Studios, 1041 N. Formosa
Ave.

Eddie Cantor
Charles Chaplin
Ronald Colman

Douglas Fairbanks
Mary Pickford
Anna Sten

20th Century Studios, 1041 N. Formosa
Ave.

Judith Anderson
George Arliss
Janet Beecher
Constance Bennett
Arline Judge

Paul Kelly
Fredric March
Blossom Seeley
Judith Wood
Loretta Young

Columbia Studios, 1438 Gower St.

Walter Connolly
Donald Cook
Richard Cromwell
Jack Holt
Edmund Lowe
Tim McCoy
Grace Moore

Jessie Ralph
Arthur Rankin
Gene Raymond
Joseph Schildkraut
Billie Seward
Ann Sothern
Fay Wray

Culver City, Calif.

Hal Roach Studios

Don Barclay Stan Laurel

Billy Bletcher Billy Nelson

Charley Chase Our Gang

Billy Gilbert Thelma Todd

Oliver Hardy Douglas Wakefield
Patsy Kelly

Metro-Goldwyn-

Katherine Alexander
Ross Alexander
Elizabeth Allan
John Barrymore
Lionel Barrymore
Wallace Beery
Alice Brady
Charles Butterworth
Mary Carlisle
Ruth Channing
Maurice Chevalier
Mae Clarke
Jackie Cooper
Joan Crawford
Marion Davies
Marie Dressier
Jimmy Durante
Nelson Eddy
Stuart Erwin
Madge Evans
Muriel Evans
Louise Fazenda
Betty Furncss
Clark Gable
Joan Gale
Greta Garbo
C. Henry Gordon
Russell Hardie
Jean Harlow
Helen Hayes
Ted Healy
Jean Hersholt
Irene Hervey

Mayer Studios

Jean Howard
Art Jarrett
Otto Kruger
Myrna Loy
Jeanette MacDonald
Margaret McConnell
Florine McKinney
Una Merkel
Robert Montgomery
Polly Moran
Frank Morgan
Karen Morley
Ramon Novarro
Maureen O'Sullivan
Earl Oxford
Jean Parker
Nat Pendleton
Esther Ralston
May Robson
Shirley Ross
Ruth Selwyn
Norma Shearer
Martha Sleeper
Mona Smith
Lewis Stone
Robert Taylor
Franchot Tone
Lupe Velez
Henry Wadsworth
Johnny Weissmuller
Diana Wynyard
Robert Young

Universal City, Calif.

Universal Studios

Henry Armetta
Lew Ayres
Vince Barnett
Dean Benton
Russ Brown
Andy Devine
Russ Columbo
Hugh Enfield
Francesca Gall
Sterling Holloway
Edward Everett Horton
Leila Hyams
Lois January
Buck Jones
Boris Karloff
Lenore Kingston
June Knight

Paul Lukas
Ken Maynard
Chester Morris
Neysa Nourse
Edna May Oliver
ZaSu Pitts
Roger Pryor
Claude Rains
Ellalee Ruby
James Scott
Onslow Stevens
Gloria Stuart
Margaret Sullavan
Slim Summerville
Alice White
Jane Wyatt

Burbank, Calif.

Warners-First National Studios

Loretta Andrews
Mary Astor
Robert Barrat
Richard Barthelmess
Joan Blondell
George Brent
Joe E. Brown
Lynn Browning
James Cagney
Enrico Caruso, Jr.
Hobart Cavanaugh
Ricardo Cortez
Bette Davis
Dolores Del Rio
Claire Dodd
Ruth Donnelly
Ann Dvorak
John Eldredge
Patricia Ellis
Glenda Farrell
Philip Faversham
Kay Francis
Pauline Garon
Geraine Grear
Hugh Herbert
Arthur Hohl
Leslie Howard
Allen Jenkins
Al Jolson
Paul Kaye
Ruby Keeler
Guy Kibbee

Esmond Knight
Lorena Layson
Hal LeRoy
Margaret Lindsay
Emily Lowry
Marjorie Lytell
Aline MacMahon
Frank McHugh
Adolphe Menjou
Jean Muir
Paul Muni
Theodore Newton
Pat O'Brien
Henry O'Neill
Virginia Pine
Dick Powell
William Powell
Phillip Reed
Philip Regan
Edward G. Robinson
Barbara Rogers
Kathryn Sergava
Barbara Stanwyck
Lyle Talbot
Verree Teasdale
Genevieve Tobin
Gordon Westcott
Renee Whitney
Warren William
Pat Wing
Donald Woods

Lloyd Hughes. 616 Taft Bldg., Hollywood, Calif.

Harold Lloyd, 6640 Santa Monica Blvd., Hollywood,

Calif.

Neil Hamilton, 9015 Rosewood Ave., Los Angeles,

Calif.

Ned Sparks, 1705 No. Sycamore Ave., Hollywood,

Calif.

Alan Dinehart, 2528 Glendower Ave., Hollywood,

Calif.

Photoplay Magazine for June, 1934

ir How much a snapshot says to the one who waits
for it! No longer is the separation real. This little
square of paper hrings them face to face. Hearing the
whispers that cannot be written in a letter. Feeling
the heartbeats . . . Always snapshots have been in-
timate and expressive, but now they are more so than
ever. Kodak Verichrome Film wipes out the old
limitations. People look natural, as you want them.
Use Verichrome for your next pictures. Eastman
Kodak Company, Rochester, New York.

Don't just ivrite it

\ Picture it.

.with snapshots

Photoplay Magazine for June, 1934

AROLE

. ■ ■

wSHHH

.^ M

Carole Lombard,

charming star of Paramount's

"We're Not Dressing"

And how angelically smooth and fresh
is your skin? If your complexion doesn't
make hearts flutter, why not do what 9 out
of 10 screen stars do — use fragrant, white
Lux Toilet Soap? Cupid's prescription will
work for you, too — give you a romantically
lovely skin, and the love that goes with it.

Photoplay Magazine for June, 1934

CUPID: "Hello, angel face, you look as though you'd
just washed in morning dew."

CAROLE: "I've just washed in something much
nicer — and it's your own prescription, too."

CUPID: "When did I prescribe for you? You've
turned men's hearts and heads so often that I
can't remember when you needed my advice."

CAROLE: "Well, once upon a time you told me al-
ways to use Lux Toilet Soap — and I agree that
'it's a girl's best friend' — those were your words,
Dan."

CUPID: "You're not the only girl I've seen sur-
rounded with admirers after taking that same ad-
vice of mine. It's my favorite ally, that soap."

CAROLE: "Men certainly do fall for a lovely com-
plexion, don't they, Dan? And I'm certainly much
obliged for that tip you gave me years ago."

*R*AT€ST

Lux

Toilet
Soap

Cal York's Monthly Broadcast from Hollywood

[ CONTINUED FROM PAGE 80 ]

TT was as striking an example of the old
troupers' tradition — "the show must go on"
— as has been seen in some time that Frank
Borzage showed Hollywood.

Frank's father was killed and his brother
seriously injured in an automobile crash on
Cahuenga Pass while Frank was engaged direct-
ing "Little Man, What Now?" at Universal.

The next morning Frank was on the job, and
remained there, taking time off only to attend
the funeral. Those knowing how close the two
were can appreciate the spirit he showed by
carrying on.

'TPHERE are several classic tales
■*■ about Josef Von Sternberg's tem-
perament while directing Dietrich in
"Scarlet Empress."

One relates how, after shouting for
"quiet" until everyone walked about
on tiptoes and held their breaths, Von
Sternberg turned and shouted
"What's that awful noise?"

"I'm sorry, Mr. Von Sternberg,"
said the cameraman with a guilty look,
"I was just winding my watch."

Believe this one, and you'll believe
the one about the man with the jitters
yelling at the cat for stamping around.

"LTERBERT MUNDIN calls it a
slow week when he isn't working
in two pictures at a time. Even three.
Recently he was given two days off.
When he returned to the set of "Too
Many Women," Herbert announced,
"I never should have taken that
vacation. Now I feel like a beginner !"

•"THE growing power of Tarzan Johnny Weiss-
muller over wife Lupe is amazing. Now
Lupe is letting her locks return to their natural
raven color, from the synthetic red which she
has tinted them. It was an edict from Tarzan,
and Lupe obeyed, in spite of her yen for copper
tints.

TN "Thirty Day Princess," Sylvia
Sidney's latest picture at Para-
mount, there was a scene requiring
several detectives. The studio thought
it would be nice, since so many real
sleuths were out of work, to make the
scene authentic and called up a detec-
tive agency. The men came out. The
scene was shot. And that very day
the script girl reported that her purse
had been stolen!

•"THERE'S one sad note I regret to pass on,

but you'd upbraid me if I didn't keep you

informed. It's about beloved Marie Dressier.

Marie has been in the hospital, very seriously ill.

RONNIE BENNETT and her husband, the
^^Marquis de la Falaise, are still denying re-
current rumors of a separation.

A/fETRO-GOLDWYN-MAYER is prepar-
ing for the triumphant return of Helen
Hayes by redoing her dressing-room and fitting
things in the order suitable to a queen.

Helen, who has been playing the role of
Mary in "Mary of Scotland," outstanding
play on Broadway this past season, is expected

home as soon as she can end the popular run
in New York, to make Hugh Walpole's
"Vanessa."

This will be her first picture after the foot-
light-inspired absence.

Y\ 7ELL, here's a new way to defeat the wed-
^^ ding-ring jinx and still remain an actress!
For years, you know Mary Pickford had to
go to all sorts of pains to conceal her nuptial
band which she refused to take off for the
camera. There was make-up of all sorts.
Lots of other actresses who feared to brook
the displeasure of Cupid have been in the same
boat. Now Alice White has solved the riddle
of the sphinx.

Cry baby! But Charles Wesley

Ruggles is one of the cutest babies

in fihndom. He's photographed here

with his mother, Arline Judge

A property man showed her how to place the
finger-tips of her two hands together and slide
the ring on to the right hand without taking
it or actually removing it, thereby satisfying
everyone.

HPHE only regret in the life of
Jimmy Durante is that he wasn't
born an Eskimo.

After seeing all the recent Eskimo
films and learning that the frigid
aborigines make love by rubbing
noses, Jimmy blurted passionately,

"What a lover I'd a been — what a
lover!"

TD ETTY COMPSON, Robert Warwick, Dor-
othy Sebastian and Don Alvarado — A few
years ago, no comedy company would have
been able to afford such an aggregation of
names. But tempus "fugits." Now they are
all doing a comedy called "No Sleep In The
Deep" at Educational. And probably having
a very swell time for themselves'

rPHOSE who have worried about Zeppo
Marx's abandonment of his three other
brothers to turn agent, will be glad to know
that it won't be the "Three Marx brothers"
but still a quartet. Zeppo's parts in the in-
sane operas were never enough to take too
much time, so to keep the professional name
intact, he'll do a walk-in-and-out at least in
future pictures.

Zeppo is now third owner of the big Bren-
Orsatti firm, which handles seventy or so of

T~\IRECTOR Van Dyke will post a
'^■'oulletin next time he has a cold,
so his friends will still speak to him.
During the last one, he told Ted
Healy his new picture was "immense"
■ — and Ted gave him dirty looks for two
weeks. Finally Van Dyke asked how
come. Ted scowled, "Didn't you tell
me my last picture was a mess?"

npHELMA TODD calls California divorce
"romance insurance!"

At least, that's what she said when she
recently obtained a divorce from "Pat" de
Cicco in California.

Friends wondered why Thelma didn't dash
up to nearby Reno for the decree and im-
mediate freedom. Said Thelma in reply:

" You can never tell what a full moon and a
charming man may do to one's good resolu-
tions, and I decided to protect myself from
myself — at least for a year, as a sort of romance
insurance." In California, divorcees must wait
a year for the final decree.

V\ TILL ROGERS took a great fancy to the
** great Dane dog that works with him in
" Merry Andrew." He allowed as how it would
be right nice to have a big old dog like that
around the place,' so offered to buy him.
Figured about one hundred and fifty dollars,
or a dollar a pound, was a fair price to offer.
The owner sort of hesitated, and answered,
"Well, I hardly think I care to sell him, Mr.
Rogers. You see, he makes more than that
working in this one picture!"

Photoplay Magazine iok June, 1934

Down the

honeymoon trail
. . . with Styl-Eez

. ■;

FOR blithe youngjeet that start gallan-tlyalong
a new and untried path, every-step ofthe'Ttfay can be
made more joyous by Styl-Eez shoes. Their feminine
daintiness glorifies the most carefully chosen trous-
seau, and their scientific comfort features contribute
much to the peace and happiness of first domestic
days. No tired, sagging arches, no cramped toes, no
ungainly inward rotating when you walk the Styl-Eez
way. And, if we know anything about it, you'll make-
Styl-Eez shoes a part of every costume long after your?
trousseau has become a memory. Pleasantly priced . . .
and presented by leading shops everywhere.

Send this coupon lor the Styl-Eez Booklet
of features and new models

The Selby Shoe Co., Portsmouth, Ohio.

Please send me a copy of your Styl-Eez Booklet

Name _

Address

Sylvia Tells Loretta Young How to Put on Weight

[ CONTINUED f ROM PAGE 53

You've got to strengthen your spine and
your knees, and here's how, darling. Skoal!

Put your arms above your head. Take five
or six little quick running steps back and forth
in the same spot. As you do this, bend your
body forward. Then — still taking the running
steps — make movements like those twittery
little women do (remember Lillian Gish in the
early Griffith pictures?). Bend backwards and
stop those quick steps suddenly, holding that
back bend, with your arms still above your
head. As you make this sudden stop, let your
knees bend as they were when you were taking
the running steps. Hold that pose for a second !
And then repeat the exercise.

Can you feel what it does to your spine?
Sure you can! It makes you feel good, too,
doesn't it? Starts the sluggish blood circu-
lating. Now, I want you to do this for five
minutes at a time to start. Do it three or four
times a day. Pretty soon you'll work up to
doing it for ten minutes at a time — and do it as
many times during the day as you can. That
will put strength in you, make you graceful
and give you the assurance you need, so that
when you enter a room people will immediately
think, " Now there's a personality." And that's
my ambition for you.

But I'm not through with you yet, Loretta.
You need building up, honey. Don't fall over
dead when old fat-hater me says this, but
honestly, you're too thin. Your neck is too
thin and that makes those cords, which extend
from under your ear to your shoulder, appear.
And then — -and I noticed this particularly
in the Directoire dresses you wore in "The
House of Rothschild" — your hip-bones pro-
trude.

You've got to cover those up with a layer
of flesh, and there's only one way to do that:
Build yourself up all over, because if you take
exercise for that particular spot you'll lose in
other places — and that's not so good for you.

And if you take an exercise to make muscle
you'll have a bad lump over your hip-bone.
So, Loretta, you've got to go on a strict build-
ing-up diet. I've planned one just for you, and
for every other girl who wants to build-up
sanely.

But first let me tell you how to help that
thin neck. And this is going to answer the

questions of hundreds of girls who have
asked me what to do to improve their skinny
throats.

You don't want those two cords to be so
prominent, so the thing you must do is to build
up the other neck muscles and give your neck
roundness. Every day for five minutes do this:
Inhale quickly, as if you were swallowing air,
but keep the air in your windpipe and don't
let it go any farther. Then, holding your
breath, make every muscle in your neck abso-
lutely tense, but be very careful to keep your
chin relaxed. DON'T tighten your chin. But
concentrate on tightening your neck — good
and hard. Exhale and relax. Repeat per-
sistently for five minutes a day. It will be fun
to take your neck measure before you start.
Then take it again in a month, and you'll see
just how much larger your neck is. And, dar-
ling, those cords will disappear as the other
muscles are strengthened.

And now for your general building-up! Now
to start in earnest to put on some weight and
cover up those protruding hip-bones!

In the morning drink a small glass of logan-
berry juice in which has been dissolved a
teaspoon of gelatine. Drink this warm. Then
have your bath and breakfast. Here's your
breakfast:

Brown rice flakes with teaspoon of brown
sugar and glass of certified milk poured
over

Three slices Canadian bacon

One coddled egg

Slice of whole wheat toast, half-inch thick,
with butter

Coffee

At eleven o'clock, a large glass of orange
juice.

Luncheon

Salad of raw red cabbage and half an
avocado (use any dressing you like. I pre-
fer just plain lemon juice)

Glass of malt tonic

Ice-cream, any flavor

At four o'clock, a large glass of tomato juice

When you go home after working at the
studio, have your maid give you a nice alcohol
rub, concentrating on the spine. You girls who
haven't personal maids can give yourselves a

nil) and it will do you good. But you, Loretta,
need this relaxation because, believe me. I
know what it means for girls to work all day
under those ncve-racking lights at the studio.
It saps all your strength. After your rub, rest
for half an hour and, if possible, have your
dinner in bed. I'm going to give you a grand
dinner — and for you, and all the rest of the
women who want to build up. I've got a
wonderful, new recipe.

Dinner

Crisp, fresh celery

Ripe olives

Onions, fresh green ones (if you dare)

Cream of mushroom soup

Small squab or plain chicken casserole
(Here's how you cook it: Brown the
squab in butter in a casserole. Have the
bird stuffed with parsley, which is delici-
ous and healthful. Pour over it — when it
is brown — a cup of sour cream. Let that
simmer on slow fire for half an hour. Add
a cup of carrots, cup of peas, half-cup of
lima beans. Cook for half hour more —
but no longer, for I don't want you to
take the natural minerals out of the
vegetables. And gosh! Is that good!)

Small baked potato (skin and all) with butter

Chicory salad with dressing

Fresh fruit

Demi-tasse

Now, haven't I been good to you? Doesn't
that dinner make your mouth water? Well,
that's what I want it to do. because you've got
to eat enough of the right food to put meat on
your bones.

Rest a little after dinner and then go out and
have a nice time at a party, or at the theater,
or just chatting with friends. But don't cheat
yourself on sleep. You've got to get at least
eight hours' sleep. That's vital. Loretta. Why.
with this diet and these exercises and plenty
of rest, you'll feel like a million, and hundreds
of thousands more admirers will rave over you.

So here's luck to you, and I hope you get so
fat that you have to send out an S. O. S. to
your admiring,

Sylvia.

Answers by Sylvia

Dear Madame Sylvia:

I have very ugly elbows. They're rough and
dark and have flabby fat around them. I hope
you can tell me something to do.

J. McR., Santa Fe, N. M.

I'm glad to have your letter because so
many girls don't think of the elbows when
they're trying to improve themselves, and
they're very important to your good looks.
You can soften them with lotion and cold
creams. You can whiten them with a good
cream bleach, and you can rub off the flabby
fat with your two hands. Put your right elbow
in the palm of your left hand. Have both hand
and elbow well covered with cold cream.
Squeeze the fa toff by bringing your hand toward

LETTERS, letters, how they flood
in!
But why not, girls, when two
little stamps may bring you a lot of
happiness and health? You'll never
owe anything to Aunt Sylvia for
whatever advice I gladly give you.
I've helped plenty of people whose
problems may have seemed worse
than yours. Merely write Sylvia,
care of PHOTOPLAY Magazine, 221
West 57th Street, New York City,
enclosing a stamped, self-addressed
envelope.

SYLVIA

your body and letting the cushion on your
thumb press away the fat. Keep doing that

every day for as long as you can spare the
time. I guarantee that you can squeeze and
rub that fat right off. More power to you!

Dear Sylvia:

My job requires that I stand all day and I
suffer terribly with swelling feet. I have read
how much you have helped others, and I
wondered if you could help me.

T. R. W., New York, N. Y.

You bet I can help you, darling, and if you
do what I say, you won't be troubled by swell-
ing feet any more. When you come home from
work have two pails of water, one as hot as
you can stand it, and one cold. Soak the feet

[ PLEASE TURX TO PAGE 90 ]

Photoplay Magazine for June, 1934

c/iear ~the /ladle mtcf a /VaUcnf rJCTcter^S

"45 MINUTES IN HOLLYWOOD"

EVERY SUNDAY AT 10:30 P.M., E.D.S.T., COLUMBIA NETWORK

P. M., E. D. S. T. (9:30 P. M., E. S. T.)
The chain: Columbia Broadcasting

big new pictures are being made?

Want to know glamorous Hollywood as

it really is? Want to laugh with the stars Then tune in this Sunday evening on

. . . and share their heartaches, too? Borden's brilliant radio show "45 Min- System. Hear it once ... and you'll tune

Want to go right on the lots where the utes In Hollywood." The time: 10:30 into its thrills every Sunday night!

LANNY ROSS AND ANN SOTHERN IN PARAMOUNT'S
"MELODY IN SPRING"— PREVIEWED ON THIS PROGRAM.

HOLLYWOOD

YIELDS UP
ITS SECRETS!

Follow the stars at
work and play.
Joel McCrea and
Frances Dee,RKO
players.

KEEP MOVIE-
LAND AT
YOUR
FINGERTIPS!

Hear flashes from
the latest pictures
excitingly drama-
tized. A scene from
Paramount's
"Murder at the
Vanities."

GO PLACES

WITH

HOLLYWOOD!

Hear the news in
the making. Jack
Holt, Columbia
star, and his son
Tim.

Presented by the makers of

BORDEN'S EVAPORATED MILK

Borden's Cheeses, and other fine dairy products

Photoplay Magazine for June, 1934

WHY do the world's leading fashion
shops, from Paris and London to Fifth
Avenue and Hollywood, jeature Perstik and
Perstop? It's because these deodorants are
right up to the minute, modern . . . with a
dainty, easy method of application. Their im-
proved scientific formulas never fail to give
the protection you seek.

Perstik keeps armpits fresh
. . . without muss or fuss
Fingers and nails never touch the deodorant
itself when you use Perstik, the original lip-
stick" deodorant. Hold it like a lipstick. A
few strokes under arms each morning assures
lasting protection against abhorrent odor.

Use Perstik before or after you are dressed,
or even after shaving. Perstik cannot harm
fabric or irritate skin. It is pure, greaseless.
Perstik is easy to apply on sanitary napkins.

Perstop stops perspiration
. . . quick to apply; quicker to dry

Perstop is for the woman who perspires
more freely and must stop underarm moisture
as well as odor. Simply touch the sponge-
necked bottle itself to the armpits . . . just
enough comes out to protect against perspira-
tion for several days. No separate applicator
or cotton to use. It is simplicity itself.

• • •

Both Perstik and Perstop have been awarded
the Good Housekeeping Seal of Approval for
safety and effectiveness. And both are ac-
claimed as the EASIEST TO USE by the
beauty advisers to over ten million women.

50^

NEW WAV TO
PREVENT BODY ODOR

EACH

at your druggist or
department store

NEW WAY TO
STOP PERSPIRATION

P&ruiiik

Feminine Products, Inc.
469 Fifth Ave., New York

Answers by Sylvia

CONTINUED FROM PAGE

alternately in the hot and cold water, a few
minutes in each, for about fifteen minutes
altogether. Dry them well and apply rubbing
alcohol, working the alcohol well into the feet
and ankles. Then for ten minutes lie on your
couch or bed with pillows under the knees, so
that the feet are higher than the head. Relax
completely. This will not only reduce swelling
but will make the feet and ankles permanently
thinner. And good luck to you!

Dear Sylvia:

I've dieted and dieted and I must say my
figure is much improved, but there is still a
lump at the back of my neck (I bend over a
desk working all day) that just won't come off.
Have you a remedy for this? I'd be so grate-
ful if you would pass it along.

Mrs. L. R., Atlanta, Ga.

Dieting isn't everything. It plays a big part
— that's true — but you've got to help the diet
along by reducing just the spots that need
reducing most. Here's your exercise for that
lump on the back of your neck. Sit in a straight
chair.

Have your spine straight. Grab hold of the
chair back closest to the seat. Now push your
head back until it rests on that lump of fat.

Slowly, feeling the back of the neck pulling
and pulling, lower your head until your chin
touches your chest. You've got to concentrate
on that lump and feel it actually move. Do
this ten or fifteen times a day. And watch
yourself at your desk. Sit straight — not all
slumped over — with your neck and head
straight. You can do it if you have the will
power to train yourself.

Dear Madame Sylvia :

Is it true that swimming will put weight on
a person? Some people tell me that it will
reduce you and some say it will make you

fatter. Which is right? I love going to the
beach, but I don't want to get fat.

K. T., Long Beach, Calif.

Yes, too much swimming will not only put
weight on but will give you ugly muscles in
your arms. But that doesn't mean that you
can't enjoy the beach. Get into your bathing-
suit. Take grand sun baths and air baths.
Then take a quick jump in the ocean. It is
refreshing and invigorating and will give you
Pep-
Just don't swim too much — that's all —
but don't stop going to the beach. I advise
sea air and sun for everyone. And for girls
who want to develop their chests and arms,
there is nothing better than swimming.

Dear Sylvia:

I know that you recommend sun and air
baths in the summer, but my tiny apartment
has no roof or balcony, and it is hard for me to
get outdoors regularly. Can you think of any
way I could get the sun and air?

Mrs. B. H. T., Chicago, HI.

You didn't tell me whether you work at an
office or are a housewife. If you're a house-
wife, throw open all your windows and do your
work without any clothes on. Of course, you'll
have to keep a robe handy to answer the door-
bell when it rings, for we haven't gone in for
regular nudism yet. But that will give you
your air bath. If you work in an office, strip
as soon as you come home — leave windows open
and do exercises. For sun baths, lie in the
patch of sun that comes in through the win-
dow. Lie on a sheet on the floor and move as
the sun moves.

I know apartment house dwellers who get
their correct amount of sun and air just this
way. Try it — it's much better than nothing,
and you can work it in every day.

Pjuudxrp

Lucky thirteen! For these youngsters, named Baby Wampas Stars of
1934, are headed for fame! Seated, left to right, are: Helene Cohan,
New York; Jacqueline Wells, Dallas, Texas; Betty Bryson, Los Angeles;
Jean Carmen, Portland; Lu Anne Meredith, Dallas; Dorothy Drake,
Santa Monica; Lucille Lund, Buckley, Washington. Standing, left to
right: Judith Arlen, Hollywood; Jean Gale, San Francisco; Ann Hovey,
Mount Vernon, Indiana; Katherine Williams, Seattle; Hazel Hayes,
La Crosse, Kansas; Gi Gi Parrish, Cambridge, Mass.

Photoplay Magazine for June, 1934

>%an

NOW APPEARING

OPPOSITE ROBERT YOUNG IN
METRO- GO LDWYN-MAYER'S

"LAZY RIVER"

• and in the newest walkie

hit

COBBIES

YES, she's fairly a'tingle with youth — Jean
Parker — the doing-est, going-est young lead-
ing lady in Hollywood. Which explains why she
wears Red Cross Cobbies. They're so rogue-ish,
so brogue-ish — perfect companions for her out-
door outfits.

These Red Cross Cobbies keep your feet in
perfect shape. For, like all Red Cross Shoes,
Cobbies fit all four of your feet. Your "walk-
ing" feet — your "sitting" feet. Your Red Cross
Shoe dealer has Cobbies and other superbly-
styled Red Cross Shoes. See them. Be surprised
that these custom-fitting shoes can still be sold
at $6.50. Also write for booklet to The United
States Shoe Corp.. Dept. P-64, Cincinnati. Ohio.

IT'S A COBBI E

Swanky . . . Jaunty and dashing is this
spectator-sports (lohliie. In white buckskin
with the nexc kiltie-tongue and tassels.

RED CROSS SHOES

FIT ALL FOUR KB OF YOUR FEET

Youthful Metro - Goldwyn - Mayer star —
lovely, vivacious Jean Parker, who follows
her triumphs in "Little Women" and "Wild
Birds" with another sparkling performance
in "Lazy River," her current success.

wcat.Mf m»

Design For A Home Coiffure

By Carolyn
Van Wyck

toes will be more prominent than ever, and if
they are well cared for they add as much to
your appearance as lovely hands. But even
if you're still wearing pumps and oxfords, that
toe care does not go for naught. You'll find
you won't want to lacquer toe-nails unless
you've given them the care you give your
fingers — shaped and removed excess cuticle.
You have no idea what this does for foot
health and comfort. This care will prevent
minor toe trouble, like ingrown nails, and will
repay you in your complete sense of personal
immaculacy.

As for matching that lipstick and lacquer, I
find that even the most critical of men will
admire rather than condemn your bright nails,
when they realize that they form a color har-
mony with your lips. Your nails needn't be as
dark as your lips, but the thing is to keep
lipstick and polish in the same tone.

Next month we're going into a Holl}rwoo(]
huddle on freckles, sunburn and tan.

"Skin Worries," covering blackheads, white-
heads, acne conditions and other troubles,
gives some practical slants on these bugaboos
of beauty. Then there are our other leaflets,
"New Skin for Old," covering normal care,
"The Perfect Home Manicure," "Eyes Like
the Stars," and "A Heavenly Halo," dealing
with hair. All yours on request, but please
send separate stamped, self-addressed enve-
lopes for each leaflet. Individual problems are
gladly answered, too. Address Carolyn Van
Wyck, Photoplay Magazine, 221 West 57th
Street, New York City.

[ CONTINUED FROM PAGE 74 ]

I repeat Alice's way, because it is perfect for
almost every girl who likes a soft, natural
effect. And Alice isn't the only Hollywood
star who prefers the invisible hairpin method.
It is a favorite trick among them. Of course
the elaborate coiffures on the screen must be
(lone by expert hairdressers, and now and then
everyone of us needs this type of arrangement
for something special. But for general wear,
the hairpin way is great.

Joan Crawford is a strong advocate of a
matching color ensemble of lipstick, finger and
toe-nail lacquer. This summer I think the

Last month I promised
you a new hair trick
from Bette Davis.
Here it is, so simple
you can do it, yourself.
All you need are curled
ends and an extra
braid. Isn't it beauti-
ful? Particularly ap-
pealing with blonde
hair. Another grand
hair job from the hands
of Perc Westmore

Photoplay Magazine fob Iune, 1934

Illustrates

Factor Color Harmony Make-Up

COLOR is the accent
that gives glamour to beauty... and
the magic of this secret has been
captured in a new kind of make-up
created by Max Factor, Holly-
wood's genius of make-up. It is color
harmony make-up. ..face powder,
rouge and lipstick in harmonized
color tones to subtly emphasize the
color attraction of your beauty.

Created originally for the screen
stars, the luxury of color harmony
make-up is now available to you.
Max Factor's Face Powder, one
dollar; Max Factor's Rouge, fifty
cents; Max Factor's Super-Indeli-
ble Lipstick, one dollar. Featured by
leading stores. Note coupon below.

Powder . . The akr har-
mony shade for Kay Francis1

brunette colorings is Max Fac-
tor s Olii'e Poivder . . . cling-
ing, it creates a satin-smooth
make-up that beautifies the skin.

STARRING IN WARNER BROS. "WHEN TOMORROW COMES"

It-Oil $£(*.. The harmonizing
color-tone is Max Factor's
Raspberry Rouge . . . creamy-
smooth in texture, it blends
evenly, imparting a delicate,
lifelike color to the cheeks.

SOCIETY MAKE-UP .. . Face Powder, Rouge, Lipstick in COLOR HARMONY

Test YOUR Color Harmon y in Face Powder and Lipstick

Just fill in the coupon for purse-size box of \ rnupi exions\ • eyes I hair 1 Mail to Max Factor, Hollywood

powder in your color harmony shade and

lipstick color sampler, four shades. Enclose Oamj o Gr«n — d browne Name.

io cents for postage and handling. You
will also receive your Color Harmony
Make-Up Chart and a 48-page illus. book,
'' 'The New Art of Society Make-l p," 1'rre.

Lipstick. .-T/^r Fa, tt 1 '1

Super- Indelible Crimson Lip-
stick complites the color haimuny
make-up . . . moisture-proof, the
permanent color keeps the lips
lovely for hours and hi ■ -.

COMPLEXIONS

• EYES

HAIR

Very Light D

Fa.r D

Creamy O

Medium D

Ruddy D

Sallow D

Freckled C

Ol.ve D

Blue n

Gray D

Haitl'IZo
Brown D

Black n

LASHESlCMm

Light D

Dark D

AGE

BLONDE
L.pfci-.D Dark--0

BROWNETTK
L.ghi_-D Dark— D

BRUNETTE
Light__D Dark_D

REDHEAD

Light__0 Dark_.D

// Hair ,, CV.ry.rl.rr*

r,f.r«co>r WArrr.O

SKIN DryO
Oily D Normal D

Address.
City

Si n

1-6-80

DON'T WORRY

Don't worry

about spoiling your

white shoes . . .

Shinola cleans

in a jiffy. . .

makes shoes

white as new!

Photoplay Magazine jor June, 1934

Screen Memories From Photoplay

15 Years Ago

XTEW stars were rare in those
days. An article advising
girls on their chances to get
ahead in movies, said: "Not one
new twinkle has been discovered
in the film firmament in the past
twelve months." Yet they call it
a hard game today! Edna Pur-
viance, Chaplin's statuesque lead-
ing woman, was playing god-
mother and hostess to Allied
officers visiting the Coast. "I
adore them all," she explained.
George Melford was credited with "breaking
in" more stars than any other director. Bill
Stowell, featured opposite Dorothy Phillips in
Universal productions, was plenty annoyed
because a press-agent described him as a
"matinee idol." Bill was so rough and ready
he kept his hair clipped short. Alice Brady,
while continuing her screen career (yes, she was
an important personage in silents, to6), was

Alia
Nazimova

playing "Forever After" on the
New York stage through a solid
season. " Fatty" Arbuckle, mak-
ing laughter six days a week,
rested solemnly on Sundays.
Photoplay was asking for fewer
and better pictures. Jackie
Saunders came out of retirement
— wife and mother. Marguerite
Clark's adopted sister, Aleta
Dore, was dancing on Broadway.
We carried a fictionization of
Alia Nazimova's Metro produc-
tion, "The Red Lantern." Alia still stars on
the stage occasionally. Among the better
pictures were "Satan Junior" (Viola Dana),
"The Poppy Girl's Husband" (William S.
Hart), "The Test of Honor" (John Barry-
more), "The Fireflingers" (Rupert Julian),
"A Midnight Romance" (Anita Stewart),
"The Better Ole" (Charles Rock). Constance
Talmadge ornamented the cover.

10 Years Ago

"DOBBED hair was still an issue
for vehement word battles.
Photoplay quoted many aroused
stars, hairdressers and educators,
denouncing or defending thestyle.
Irene Castle was a leading advo-
cate of bobbing, of course, while
Dean Marion Talbot, University
of Chicago, said, "It's barbaric."
" Bobbed hair, never!" said Mary
Astor. Oh, well. We formed a
jury of fourteen women stars to
pick the "Great Lovers of the
Screen." They all named different actors, thus
listing, without ranking them; Ramon Novar-
ro, John Barrymore, Rod La Rocque, Lew
Cody, Monte Blue, Conway Tearle, Robert
W. Frazer, Richard Dix, Rudolph Valentino,
Thomas Meighan, Lewis Stone, Frank Mayo,
Jack Mulhall, Eugene O'Brien, Conrad Nagel.
Fifteen, because Corinne Griffith split her
vote between Mayo and Tearle. Novarro, in-

cidentally, was the shocker in
"The Kiss That Shocked the
Sheiks." He planted it on Alice
Terry's lips, in the middle of the
Sahara, where they were filming
"The Arab," (Small wonder Miss
Terry voted for Ramon!) Mrs.
Beth Sully Fairbanks Evans, first
wife of Douglas Fairbanks and
mother of Doug, Jr., told with
Leatrice startling frankness why she left

J°y James Evans, business man, to

devote her life to making Doug,
Jr. an actor. Sure enough, she did. The six
best pictures of the month: "A Boy of Flan-
ders" (Jackie Coogan), "King of Wild Horses"
(Rex— the hoss), "Girl Shy" (Harold Lloyd-
more hossin'), "The Enchanted Cottage"
(Dick Barthelmess), "The Confidence Man"
(Tom Meighan), "The Hill Billy" (Jack Pick-
ford). Beautiful Leatrice Joy was on the
cover. She's completely retired.

5 Years Ago

For canvas, buck, suede or kid shoes. At all
stores . . . liquid, tube or cake. Try it today.

f"<ARBO and Gilbert were to
^-'co-star no more, M-G-M de-
cided, and there was much woe
among romance lovers of the
land. Photoplay, in an edi-
torial, wished them luck, going
solo. Jack didn't do so well, be-
tween "A Woman of Affairs"
five years ago and "Queen
Christina," when he and Greta
were reunited. All the while,
Garbo soared. And it was in
June of '29 we sang: "Hey! Hey!
Harry's Coming Back" — about the oft-times
fading and reblooming comic, Langdon. Having
had a long toboggan ride, he had brand new
determination. He has been up and down like
a well rehearsed wrestler ever since, with
alimony troubles and bankruptcy gaining sev-
eral falls from him. Edmund Lowe and Lilyan
Tashman, devoted after four years of married
life, told how to hold your mate. Only death

Harry
Langdon

could part them, five years more
were to prove it. "What is IT?"
Said Joseph Schildkraut: "IT is
an Anglo-Saxon hypocrisy to
cover up the honest phrase, sex
magnetism." Said Lewis Stone:
"IT is merelya jazz-age name foi
personality." By the way, how
quickly obsolescent — IT\ We
asked some favorite film folk to
name their picture favorites.
Some, like Gloria Swanson, ex-
pressed orthodox taste — Pickford,
Fairbanks, et al., but Paul Bern (who came to
a sad end himself) picked several failures. He
found some glory in them. The best pictures
of the month: "Coquette" (Mary Pickford),
"Gentlemen of the Press" (Walter Huston),
"The Trial of Mary Dugan" (Norma Shearer),
"The Wild Party" (Clara Bow), "Christina"
(Janet Gaynor), "Show Boat" (Laura
La Plante). On the cover — Olga Baclanova.

The Little Colonel
Marches Back

[ CONTINUED FROM PAGE 70 ]

His Madcro is such a man. Second only to
the importance of Villa is this saintly man
whom Villa called "the little fellow," and
whose gentle command was the only one in the
world that the childlike, cruel rebel obeyed. In
his presence, the great, boorish, inarticulate
peon was abashed. From him, in the motion
picture story. Villa learns his first refinement —
when he bellows "Shut up!" to one of his men,
and, with an apologetic glance at Madcro, adds
"Please!"

Such a man was Madcro. And not unlike
him is the man Walthall.

A QUIET, philosophical, patient man —
whose deep, resonant voice seems not to
fit his stature, but it does fit his valiant soul.
It is the voice of a man from whom all restless-
ness has gone.

He is patient— but not resigned.

He accepts the disappointments and setbacks
in life — because he loves life, and the friends
who are a part of it.

"Acting — it does cruel things to men. But
they never renounce it," he says. "They can-
not believe, after each heartbreaking dis-
appointment, that there will ever be another in
their perilously uncertain careers. They are a
race apart, and they have that quality that
distinguishes all fanatics and children — they
never lose faith."

With a stalwart singleness of purpose in a
frail body, Walthall has endured enough to
discourage a giant. Only he has never
acknowledged it. He doesn't now.

He has never actually starved or slept on a
park bench. But what has his mental suffering
been? It was the tragedy of a great talent
forced to lie fallow as he endured through un-
worthy roles in mediocre pictures, for the most
part. But he worked, you say; he made a good
living, and he has been in constant demand by
independent companies. . . . Yes, he has been
a long way from down and out, as many of his
compatriots have been in their meteoric
careers. But I say he has gone hungry, with a
more terrible hunger than the body can know.
The hunger of a man who knows his worth and
is denied the opportunity to prove it. Some-
what similar is the starvation that another
actor is suffering right now — a man who is rich,
with money, and wants nothing from the world
but a chance to work. Jack Gilbert.

Photoplay Magazine for June, 1934

alute

ACK paces his floor liked a caged animal in
torment. Walthall must have suffered silently,
as he accepted the roles that came his way.
He has none of the dynamics of a Gilbert now.
But he is just as susceptible to inner torment.
Twenty years is a long time between achieve-
ments, for a man whose pride and whole
vitality must take their nurture from his
work.

The record is phenomenal. Walthall is the
only man in pictures to whom this identical
thing has ever happened. Many others have
staged small or vivid comebacks, to flare up
and remain, or die out again overnight. Wal-
thall's one role, the "Little Colonel," captured
the public's imagination and held it through
all the years, while he has throttled down his
great talent to the pace of little demands upon
it. Small parts, "bits." Holding tenaciously
through thick and thin, to one indomitable de-

but Nature
Glorified

# Years and pounds really mean little,
after all. The beauty of your figure de-
pends on its curves and its proportions.
Vassarette Foundations will give you
smooth, flowing lines. The boneless
flexibility of Vassarettes will give you
new freedom . . . while hips are firmly
restrained, waist neatly defined, breast
artfully lifted. Above, the new, backless
and porous summerAll-in-One. At Right,
the new form- fashioned Girdle of same
fabric, shown with uplift Bandeau. Re-
member only Vassar can make Vassar-
ettes. Always look for the name. $5 to
§15 in fine stores. Write us for the name
of the one nearest you. The Vassar Com-
pany, 2531 Diversey Ave., Chicago.

VASSARETTE

FOUNDATIONS

a&ai/ie

Photoplay Magazine for June, 1934

etclttej:

\i~-

/'// J A N T Z E N

# You'll recognize the
latest Continental trend in
the Basque Kerchief — an
exclusive Jantzen creation.
Decidedly sun-conscious,
exceptionally attractive.
The kerchief-type uppers in
elastic form-fit stitch have
fashionable narrow stripes.
Above all, a practical, per-
fect-fitting swimming suit,
combining smartly styled
separate trunks and uppers
in the latest vogue.

Suit yourself perfectly — and
every member of the family —
in a Jantzen. There's a model
to fit every taste and purse.
The Basque Kerchief $5.95.
Misses $5.50. Other authentic
styles $4.50 to $9.95.

The Basque Kerchief

as worn by Ann Dvorak

Featured Player appearing

in Warner Bros. -First National Pictures

JANTZEN KNITTING MILLS

Portland, Oregon; Vancouver, Canada;

London, England; Sydney, Australia

JANTZEN KNITTING MILLS (Dept. 260) Portland. Ore9on

Please send me style folder in colors featuring new 1934 models.

WOMEN-S □ MEN'S □

termination: That the "Little Colonel" would
not begin — and end — his career.

Through one frustration after another, Wal-
thall has always been sure there was another
great role for him somewhere, some day. He
has never become resigned to a fate of the
sensational "underdog," and walked through
poor parts. Walthall always gives a per-
formance.

•"PHE illness that has been a battle waged over
many years, nearly caused the loss of his
chance to play the famous role that gave him
his honorary title. Here is the story. It has
not been told before.

D. W. Griffith had rehearsed the company
for many weeks for "The Birth of a Nation."
When he was all ready to begin work, Walthall
was rushed to the hospital. He was danger-
ously ill — not expected to live.

So D. W. lifted an unknown from the ranks,
rehearsing him night and day for the part. His
name was Wallace Reid.

Just by so narrow a margin as that did Wal-
thall almost lose the role that has made history.
He made a miraculous recovery, in time.
Griffith gave Reid a lesser role, and Walthall
became Col. Ben Cameron.

Naturally, young Reid was acutely dis-
appointed at losing the first real part so nearly
within his grasp. He could not hold it against
Walthall for getting well. This time was Wal-
thall's turn to win, anyway. Wally Reid had
married Dorothy Davenport, and it had been a
race between him and Walthall to see which
one would win "Spec," as Henry B. always
called her. She had as many freckles then as
her son has now.

At that time, around 1912, '13 and '14,
almost every girl at the Biograph studio had a
severe crush on Walthall. Born on a planta-
tion in Shelby County, Alabama, Walthall was
the finest type of chivalrous Southern gentle-
man.

The little Gishes, Mary Pickford and Blanche
Sweet were youngsters in their 'teens. Wal-
thall was a man in his thirties — an "older man"
to these naive girls. He was always courteous,
charming and thoughtful. And, while not ex-
actly handsome, he had striking presence. In-
cidentally, one thing that always bothered him
was his height. An inch or so more, he be-
lieved, would be of value to him in his work.
Things arc important to him only as they affect
his career. After Griffith finished "The Birth of
a Nation" on the West Coast, he returned to the
East. A loyal group followed him, and Wal-
thall wanted to join them.

"N. TFAVcompanies were springing up everyday,
•^ and were constantly attempting to lure away
the Griffith stars, so enlarged in the public eye
by their connection with D. W.'s masterpiece.
But money alone probably could not have
gotten W'althall away from Griffith; it was the
complication of uncertain health that finally
persuaded him to stay in California. Walthall
had the deepest sort of fondness for the old
maestro who had raised him to such promi-
nence. He liked particularly the Griffith
dignity when on the set.

But— Griffith went away, and Walthall
stayed West. He went to the Essanay studio in
Chicago eventually, and his career moved
along without highlights. No more "Little
Colonel" roles, no more glory, except that
which persisted from his one splendid per-
formance.

He drew a good salary, on the strength of his
reputation, and producers considered them-
selves fortunate to include the name of Wal-
thall in their casts. But they actually did not

Photoplay Magazine for June, 1934

know how to use him, and. as the years wore
on the Walthall glamour began to dim a bit—

the salary to get smaller.

A few years before the talking picture up-
heaval, something began to happen to the
nature of movies, or the stories from which
they were made. Perhaps there really was a
changed audience; perhaps producers just
found that the old audience would stand for
experimentation and change. So a held was
opened for a new type of player. Hut what
happened was. the companies sought out these
"different" players abroad. They brought un-
usual actors, exotic actresses from across the
sea, while Walthall watched many a fat role,
that he might have handled to perfection, go to
them.

■"THEN came the talkies. Accents took an
awful whipping. The unique importations —
with a few outstanding exceptions- — were put
in retreat. But the revolution in story form
grew wider, and there were parts to be filled by
distinctive types who could speak the language.

Somebody remembered that Henry B. Wal-
thall had a voice, clear and rich in its quality,
when they were casting "The Bridge of San
Luis Rey." He was given the role of the
priest. The impression he made was indelible,
and Walthall was established in the talkies.
Whatever he did he did well. But still a role
fully deserving of his talent was to elude him
for several years more — until "Viva Villa."

After that picture, there was to be another
disappointment for him. He was cast for a
splendid part in the new Marion Davies film,
"Operator 13." But the script was rewritten
and the part cut out. Now, however, the re-
sponse to the Walthall performance in "Viva
Villa" has brought him this compensation —

He is to be starred by Willis Kent, inde-
pendent producer!

Elizabeth Bergner —
Puppet or Genius?

[ CONTINUED FROM PAGE 27 j

lines to Catherine, the responses came from Dr.
Czinner, on the side lines! But wait!

When everything was set to Dr. Czinner's
satisfaction, he hurried off to a distant part
of the stage. A specially built dressing-room
stood there. Dr. Czinner entered it. A
moment later, he reappeared.

He was leading Elizabeth Bergner by the
hand. She looked a colorless, unimpressive
little thing. Dr. Czinner led her slowly to a
spot in the foreground near the cameras.

And here is a strange thing.

Not once in the slow walk to the cameras
did the woman raise her eyes from the floor!

One sensed, rather than saw, a final hand-
squeeze Dr. Czinner gave his wife before turning
from her and taking his place between the
cameras. A raucous voiced assistant bellowed
for silence. The shooting of the scene began.

Instantly Miss Bergner was transformed. It
was amazing! From that colorless, unimpres-
sive little thing she changed into a vibrant,
magnificent, fearless woman — a woman of
royal birth. She was Catherine!

But during every second of that scene she
watched her husband out of the corners of her
eyes. I discovered why. She was taking
direction, in the most astonishing way I have
ever seen.

She was reacting to his unspoken commands

View Ytair Jtyles • • •
\mreated by Hollywood

Hitf not for hair too DRY or too OILY

(below) Another star, who likes
.simplicity, uses a satiny swirl
from right to left in back. For
tins style the hair should not look
plastered down, and that means
it cannot be oily and stringy.
Packer's Pine Tar Shampoo treat-
ment (below) helps to correct
over-oily hair.

(above) A lovely Hollywood
blonde goes in for a "Helen-of-
Troy" hairdress with romantic
curls at the back. Ideal for
evening if your hair is soft and
silky, but merely untidy if your
hair is dry and harsh. To help
dry hair, use the Packer's Olive
oil Shampoo treatment, below.

Help for DRY hair:

Don't put up with dry, lifeless,
burnt-out looking hair. And don't
—oh, don't— use a soap or shampoo
on your hair which is harsh and dry-
ing. Packer's Olive Oil Shampoo is
made especially for dry hair. It is a
gentle "emollient" shampoo made
of pure olive oil. In addition, it
contains soothing, softening glycer-
ine which helps to make your hair
silkier and more manageable.

No harmful harshness in Packer
Shampoos. Both are made by the
Packer Company, makers of
Packer's Tar Soap. Get Packer's
Olive Oil Shampoo today and begin
to make each cleansing a scientific
home treatment for your hair.

To correct OILY hair:

If your hair is too oily, the oil
glands in your seal]) are over-active.
Use Packer's Pine Tar Shampoo-
it is made especially for oily hair.
This shampoo is gently astringent.
It tends to tighten up and so to
normalize the relaxed oil glands.

PACKER'S

OLIVE OIL SHAMPOO PINE TAR SHAMPOO
for DRY hair for OILY hair

Photoplay Magazine for June, 1934

"I really felt better,
my back no longer
eched, and I had a new
feeling ol energy".

"The massage -like

Action did- it . . . ihe
fat seemed to have
melted away".

"In a very short time
I had reduced my hips
9 INCHES and my
weight 20 pounds".

REDUCE

YOUR WAIST
AND HIPS

) INCHES -f/\ DAYS

3 in m\J OR

. . . it costs you nothing!

WE WANT you to try the Perfolastic
Girdle. Test it for yourself for 10
days absolutely FREE. Then, if without
diet, drugs or exercise, you have not re-
duced at least 3 inches around waist and
hips, it will cost you nothing!

Reduce Quickly, Easily, and Safely!

4) The massage-like action of this famous Perfolastic
Reducing Girdle takes the place of months of tiring
exercises and dieting. Worn next to the skin with
perfect safety, the Perfolastic Girdle gently massages
away the surplus fat with every movement, stimulat-
ing the body once more into energetic health.

Don't Wait Any Longer. . . Act Today!

• You can prove to yourself quickly and definitely
whether or not this very efficient girdle will reduce
you. You do not need to risk one penny . . .try it
for 10 days . . . then send it back if you are not
completely astonished at the wonderful results.

The illustration of the Perfolastic Girdle
also features the NEW Uplift Brassiere!

SEND FOR TEN DAY FREE TRIAL OFFER!

PERFOLASTIC, Inc.

Dept. 916. 41 EAST 42nd ST., New York, N.Y.
Please send me FREE BOOKLET describing
and illustrating the new Perfolastic Girdle ana
Brassiere, also sample of perforated rubber and
particulars of your 10-DAY FREE TRIAL OFFER.

Name

A ddress

City

.State.

Use Coupon or Send Name and Address on Penny Post Card

— commands he was issuing by means of rapid
manipulation of his fingers and nods of his head.

The moment the scene was finished, Dr.
Czinner took her by the hand and led her back
to the isolated dressing-room. Her eyes were
again downcast, and again she was just an
unimpressive little thing.

I appealed to Fairbanks for an explanation.

"It's a cinch," he said, "that when they are
alone together, they rehearse the scenes over
and over again. From the day we started
shooting, we've never retaken a single scene
in which Miss Bergner figures. Other scenes
have been shot as many as ten times. I've
never known anything like it before. To the
best of my knowledge, no other director in
the world has ever stopped with the first take
of any scene."

Later, when the company had been dismissed
for the day, I had another glimpse of Miss
Bergner. She was having tea in the studio
commissary. She was in street clothes. In
street clothes she looks even more petite than
on the set. Her hair I, at first glance, thought
was red, but a second look convinced me it
was blonde.

She is not beautiful. But, by now, you will
have seen her image on the screen, full of
allure and an indefinable attractiveness not in
evidence when you see her in the flesh.

While she was sipping her tea, I noticed
something else. She was obviously self-con-
scious. But that isn't all. In her eyes was
fright.

Fairbanks afterward told me that her fright
is always in evidence except when she is
playing a scene.

"pROM her slim figure, her self-consciousness,
the fright in her eyes, comes a vague impres-
sion that she is still a schoolgirl, a nervous, tem-
peramental schoolgirl. Yet she has been an
actress for many years, and a star for a fairly
long period.

She has one dislike stronger than any other.
It is to have anyone introduced to her — either
in her professional capacity or away from the
studio. She is fond of good things to eat. She
does not drink, but makes up for this ab-
stention by gorging on chocolates.

She doesn't care a fig about clothes; wears
old things except when she is obliged to attend
a formal function. I am certain she could
stroll along Bond Street and be unnoticed,

even by those who but a short time before
may have cheered her performance in "Escape
Me Never."

Since the studio scene, I have seen her twice.
Once was at a luncheon given her by the
Association of American Correspondents in
London. There she struck me as an apathetic
and unpersonal woman. She refused to say a
word. Her escort was her manager, Mr.
Cochran, and it is only fair to add he did
everything humanly possible to make up for
his star's silence.

TTIE other occasion on which I saw her was
the opening night of "Escape Me Never."
By invitation of the management, I went back-
stage after the final curtain. There I again
observed Miss Bergner's muteness, while dukes
and duchesses and lesser folk paid her effusiv 3
compliments on her performance. I also saw
horrible fright in her eyes. And, I am con-
vinced, utter boredom.

Most of the London critics who have hailed
Elizabeth Bergner as "another Duse" or
"another Bernhardt" are too youthful to have
seen either of those great artists act. Fair-
banks believes she is a genius. And as far as
the European screens are concerned, she is
without even a near-rival. Continental critics
declare they would rather watch a movement
of her hand than gaze at the most alluring
close-ups of the Dietrich legs.

Perhaps this timid actress exaggerates her
timidity, as a publicity device. Perhaps much
of the Bergner personality is posed. Surely
there are several dissentients on the question
of her acting ability, and George Bernard Shaw
is one of these.

At a luncheon the other day, an enthusiastic
admirer of Miss Bergner asked him: "Don't
you think she'd be wonderful as Joan?"

"Do you mean the Joan of my play?"
parried the playwright.

"Of course!" cried the enthusiast.

Shaw shook his head.

"That role," he said, "calls for an actress."

Next fall, the American public may have an
opportunity to judge her in person. C. B.
Cochran hopes to present Miss Bergner in
Noel Coward's play, "Conversation Piece," in
New York.

Mr. Cochran also has business with several
American movie producers. Possibly Miss
Bergner is in this business.

Lupe and Johnny Were Lovers

I CONTINUED FROM PAGE 58 1

"So," says Lupe, "I just go 'yes woman' on
Johnny. (Yoo hoo, Mr. DeMille. Lookie, we
got a "yes 'woman" now.) I say, 'Yes,
darling,' 'yes, darling,' 'yes, darling' to every-
thing Johnny say. Every day but Sunday,
that is. On Sunday I say, 'No, you blankety
— ' (nice weather we're having, don't you
think?) But on Mondays, Tuesdays, Wed-
nesdays, Thursdays, Fridays and Saturdays I
say, 'Yes, darling.' And so I let Johnny win
the fight, because when I say 'yes' he does
what I want to do anyhow."

To think that Hollywood's fiery little pepper
pot, its snapping little fire-cracker, its explod-
ing little tamale, is a tamed and chastened
woman! Positively, it's the scream of the year.
And they fought about such grand things, those
two. About "Popeye, the Sailor," for in-
stance, and who got to read him in the funny-
papers first.

"I wanna read Popeye," Lupe would say.

"I'm reading Popeye," Johnny would growl.
"You wait."

"I wanna read Popeye now," Lupe would
scream, and the buildings in Santa Monica,
ten miles away, would rock on their very
foundations.

"Pack my things," Johnny would yell at
the butler. "I'm leaving."

His things were packed. And five minutes
later, when the smoke had cleared away, Lupe
was reading Popeye and Johnny was romping
with the dogs.

Naturally, both of them are prize-fight fans
of the first water, and every fight night found
them in the front row, screaming and yelling
at the fighters and each other. "Come on, you
Mexican," Lupe would shriek at her favorite,
and that was enough. Immediately Johnny
was on the other side, and from then on no one

Photoplay Magazine for June, 1934

as much as threw a glance at the two struggling
contestants in the ring. Hah, that was ama-
teur stuff. The real battle was right down in
front with spectators spellbound at the beauty
of Lupe's right. Why, actually, the fighters
themselves became so interested in Lupe's and
Johnny's goings-on they'd stroll over to the
ropes and, between half-hearted punches at
each other, root for Lupe or Johnny. It was
very confusing all the way round. And always
ended with Johnny rushing home, giving his
Tarzan yell to the butler to pack his things,
as he was leaving.

A ND the butler would begin his daily pack-
■**,ing, only to find the battle over before he
got to Johnny's tooth-brush.

But the dog-fight was really the climax of
the whole uncivil war. Lupe owned two
Chihuahua pups. And then one day, home
came Johnny with a brute almost as big as
himself. Lupe took one look at Otto, the new
dog, and the neighbors, hearing the cyclone
approaching, barred all windows and took to
the cellars. What a battle that was! The
cannons roared and the bayonets flashed,
while the servants, wearing steel helmets and
gas masks, went right on making the beds and
fixing the spaghetti. They were veterans of
wars at their bloodiest.

"He'll kill my little dogs, that great big
brute," Lupe hurled at Johnny. "He'll kill
my little Chihuahuas."

Five minutes later, the worst was over.
Things had subsided to a mere first class brawl
when Lupe glanced over the huge bearskin
rug, and there lay Otto, the six-foot outrage,
with one little Chihuahua sleeping on his
back and one biting at his tail.

"Now, you see," said Lupe, "there it is.
We fight about nothing. Now darling, it's too
silly. Now we part. We save our marriage.
We'll live like Claudette Colbert and Norman
Foster. You live in your house and I live in
mine."

"Aw, I don't wanna be Norman Foster,"
Johnny grumbled.

Well, anyway, ten minutes later they picked
up the pieces, sent the Marines back to
Guatemala, and Johnny had decided he'd be
Norman Foster if he had to.

The next day he went out and rented him-
self an apartment. His clothes were all moved
over by the puzzled, muttering butler.

That night they had dinner at Lupe's house
and went to the fights. It was a beauty, their
combat, that night. People for miles around
dug themselves into safety trenches while the
couple "discussed" the ring contests.

At the door of Lupe's house she said good-
night to Johnny, who went on to his apartment.

"r^OOD night, Popee." Then she walked
^^into her home. There was a strange, dis-
quieting stillness about the place. Her glance
fell on the hall cabinet which she had ordered
to hold Johnny's swimming medals. Under
the hall lamp they gleamed and glistened on
their glass trays.

She climbed the stairs and opened the bed-
room door. There stood her big, round black
bed with the silver rim exactly like a silver
moon rising over a dark, heavy cloud. She
walked to the window and peered out. In the
starlight she could see the shadowy form of
Otto walking about the empty swimming pool.
The candle, burning always before its little
shrine, cast weird shadows about the room.
An overpowering loneliness seized her and
with a sob she flung herself on the bed and
wept. Little Lupe. A strange little Lupe
whom you and you and you will never see,

BREV

is short-iii-length, slim-
in -ankle for small women

MODITE

la 30 to 31 inches long,
perfect for the average

DUCHESS

is extra long and specially
shaped for tall women

also CLASSIC

is fashioned wider
throughout for larger legs

BEAUTIFUL belle-sharmeer stockings
fit your foot and your leg ... to per-
fection! There is an individual propor-
tion . . . specially fashioned in width
and length as well as foot size . . . for
every type of woman . . . small, average,
tall and plump. The foot size has a num-
ber, the leg size has a name. • No more
ankles that crease . . . seams that wave
. . . heels that slip down into the shoe !
No more garter runs from doubled-over
or stretched-up tops ! And the Waynew
Foot provides smarter lines and longer
wear. • All new shades and all popular

weights

, at one fine store in each
community.

May we send you FREE an illustrated
booklet on belle-sharmeer stockings? Address
belle-sharmeer division of the Wayne Knitting
Mills, Dept. J, Fort Wayne, Indiana.

Delle-sh

Member
JSRA

armeer

STOCKINGS

designed for the individual

IOO

READ FREE OFFER BELOW

Glorify Your
EYES

How to give them life, mystery,
charm hi 40 seconds/

'"VV7HY didn't I try it before?" You'll say

** to your mirror, after beautifying your
lashes with a magic touch of Winx, the
super-mascara. Remember, lovely eyes are
woman's greatest charm.

So safe— smudge-proof, non-smarting, tear-
proof— Winx is refined to the last degree.
Yet so quick to apply— a morning applica-
tion lasts until bed-time.

WINX

Cake or
Liquid

Photoplay Magazine for June, 1934

perhaps. And then, with a bound, she was down
the stairs, out to the garage and driving like the
wind across the miles to Johnny. Not even
waiting for an elevator, she tore up the stairs,
tlung open the door and there he sat. Staring
at nothing. Lonely and miserable.

"Lupe," he gasped.

"Johnny."

She flung herself at him. "I can't bear it
in that lonely house. Come home, darling, "
she cried.

"I didn't want to be Norman Foster any-
how," Johnny said, gathering up his things.

Together they drove home. And the battle
that was waged on the way, over whether
Lupe's car horn went "Do do de do" or
"De de do de," will go down in history as one
of the prize conflicts of the century.

And now, all those gorgeous battles are over.
And Lupe has become a 'yes woman' and as
model a housewife as ever wifed a house.
You wouldn't, you just couldn't believe it.
To think that Lupe, the spitfire of Hollywood,
is now worrying over whether Johnny wants
his chicken with spaghetti or without. And
Lupe, with her own little be-diamonded hands,
cooks it all for Johnny herself. No going out
to restaurants at night for Johnny. Lupe,
with no cook but herself, does it all.

CHE worries about his socks, his shirts, his
pajamas. In fact, Johnny's socks at this
moment are of far more importance to Lupe
than the biggest screen role in Hollywood,
and when they need mending, as heaven is my
judge, Lupe sits herself down and mends them
herself. With my own two eyes, I've seen her.
And will never be the same, I promise you.

Of course, her household still remains like
nothing this side of a mad house. For her
butler, who is also a carpenter and electrician,
will answer the front door, nine times out of
ten, in a pair of white overalls and holding a
dripping paint-brush. He's been painting the

FREE

Merely send

swimming pool or something, and thus you
are greeted at Lupe's brown oaken door. Let
the paint drip where it may.

The secretary feeds the canaries, orders the
groceries and does practically everything but
answer letters and do secretarial work. She's
also Lupe's chief hairdresser when the butler
is busy elsewhere.

Lupe decided one day my car was dusty.
"Wait, I have the chauffeur dust him off.
"Al," she screamed from the sidewalk to the
chauffeur somewhere in the house, "where
are you?"

A HEAD was thrust from an upstairs win-
dow. "Making the beds," the chauffeur
screamed back. "Wotta you want? "

Anyway, those grand free-for-alls of Lupe's
and Johnny's are over.

All done. If Johnny wants to go one place
and Lupe another, they no longer riot. Lupe
simply says, "All right, darling, we go where
you want to go," and the blow so overwhelms
poor Johnny that they go where Lupe wanted
to go in the first place. And Johnny is too
dazed to know where he is, anyhow. He can't
understand what has happened. Neither can
anyone else.

If Johnny says, "Look, honey, this red
book is black," Lupe smiles and says, "Yes,
Johnny, the red book is black." Unless it's
Sundays. And then you'd be surprised to
hear what the red book really is. But other
days, little Lupe has done a loop-de-loopie.
And has become a little give-in mama. A
little yessing wifie. And doing it all for one
reason. Just to hold her husband. "I lof
him and I will not lose him by always quarrel-
ing," she says. So Lupe is ready and willing
to submerge her personality, the very per-
sonality that made her what she is in pictures,
to hold the man she loves. (At least, this is
what she says at the moment. But remember,
it's a woman's right to change her mind.)

Blondes Plus Curves Mean War

CONTINUED FROM PAGE 33 ]

Coupon for "Lovely Eyes— How to Have Them"

Mail to ROSS Co., 243 W. 17th St.,N. Y.City

l'.H.ti

Name

Street

City State

If you also want a month's trial package of Winx
Mascara, enclose 10c, checking whether you wish
□ Cake or □ Liquid □ Black or □ Brown.

Anna is a late arrival, but her guns are in
position and she is advancing fast. In " Nana,"
she showed us not one woman, but woman,
one of the elemental things, as universal and
enduring as fire and water. None of Marlene's
old world wisdom, none of the stylized smart-
ness of Mae West! What she offered was the
simplicity of a great force superior to sex, yet
redolent of everything the word conveyed. It
was a compound of the appeal of the flesh,
unselfish love and sheer physical beauty.

The great gift of Anna Sten is tenderness.
You see that in her eyes and in her mouth.
Her body has the deeply undulating curves of
womanhood untrammeled by the girdles and
lacings of convention. It is vital, electrical,
sensual.

But it is the tenderness that distinguishes
her.

If all the stars of Hollywood were rolled into
one, the superlative creature resulting would
have Anna's gift of tenderness, a sort of pro-
found pity for poor humanity.

Marlene asks no quarters; gives no quarter.
Veteran of the war with Garbo, and all the little
Garbos, she sniffed the hot air of battle the
instant Mae West began drawing the millions
into the movie houses. Off came the masculine
attire and she was once again the Lorelei she
used to be.

If you have overlooked it, permit me to
remind you that this is the girl with the
loveliest skin in Hollywood. No actress sounds
the sirens of flesh more expertly, more seduc-
tively than she does. None more weary of
men and, at the same time, none more ar-
dent, none more eager for life!

Wheels within wheels and wars within wars!
Everybody is a mite jealous of everybody else.
For every big star, there are a dozen little ones,
all fighting to share the rewards, using their
talents, their influence, their publicity, and
everything they can lay their hands on to win.

And so, while these three vitalic blondes are
at war with one another to determine which
shall dominate the land of the soft curves, they
are at the same time, all three fighting shoulder
to shoulder to protect their realm against in-
vasion by a group of stars whose appeal, though
quite different, is exceedingly strong.

Pitted against the Dietrich-West-Sten trio
are Greta Garbo, Katharine Hepburn and Con-
stance Bennett.

The differences are immediately apparent.
Their appeal lies not in the flesh but in the
spirit, in certain social graces and feminine
coquetries which we have come to associate
with sex.

In other words, their call is sounded by the
words and ways which we have learned to

Photoplay Magazine for June, 1934

lOI

know belong to love, rather than by the strong,
irresistible force of love itself. They are god-
desses of the boyish form and their attraction
is enormous.

But who shall say, which of the two trium-
virates will triumph in their grapple for public
favor?

Men, we observe in their pictures, love
Garbo and Hepburn and Bennett. But they
love them because they are lonely or blue or
have found themselves in romantic situations.
They do not love them because they just can't
help themselves. In this love, there is nothing
cosmic, nothing resembling a law of nature
which cannot be disobeyed. Constance Ben-
nett, walking down Fifth Avenue, trig and
Parisiemie, does not attract more than a pass-
ing glance.

But dress any of the sizzling blondes of the
first part in rags and start them down any
street in the world and men will follow, hardly
knowing why.

•"THE conflict between the slender, nervous-
energy types and the full-bosomed, vital
ladies can be duplicated in any normal circle of
people. There is always a Mae West, a
galleon girl, who never gets tired; who, with-
out making an effort, draws men around her.
At even- party you can hear her laugh, and
where the laughter comes from — that's the
hot spot of the party.

So, too. there are the Garbos and the Ben-
netts and the Hepburns. They are types, and
how they dislike and sneer at the Mae Wests!
Exactly how the major number of stars in
Hollywood are sneering right this minute. I
Still, thej\ the wiry ones, get around and they
are never short on admirers. We all have
known these spitfires in our own lives, al-
though, just between you and me and the
dictionary, the name pays them a compliment
they don't deserve. Good-looking, charming,
a great deal of personality. But men talk to
them of books and bread and business. Love
is a by-product. Something in parenthesis.
Possibly a desire, but not an essential.

With the well-balanced blondes, of the Mar-
lene and Mae type, men never think of dis-
cussing oatmeal or automobile engines. They
think of moonlight on the waters, playing the
guitar. And when they talk, they stutter some-
thing about how nice it would be to be alone.
Other girls gossip about them and say mean
things, but the soft-curved, electrical blondes
(as you may have observed) don't seem to
mind, and they always get their way. What's
true of life is true of the movies and the stars
and vice versa.

THE Garbos and the Hepburns are the stuff
of which martyrs are made. They are
idealists. Ideas and principles mean a great
deal to them. The flesh is important, but the
devil is more important. And they, in most
cases, spend their lives fighting him.

Examine Hepburn's recent roles, especially
'" Little Women," in which she gave one of the
most convincing performances of her career.
She sacrifices everything and escapes an old
maid's fate only by a fortunate accident. Now,
she is down on the schedule for the part of Joan
of Arc.

Garbo almost always is cast in the role of the
forlorn lady who somehow misses the train.
In both "Grand Hotel" and "Queen Chris-
tina," she is unlucky with men and tragedy
overwhelms her.

Xo such fate is possible for the dynamic
blondes. Which is another reason for the
antagonism felt for them by the others. Anna

-uAt/e

IS THE SMARTEST
DISTANCE BETWEEN
TWO POINTS

Current fashions are built around
youthful curves. Figures must be
graceful, slim and rounded in the
right places.

To look well in the new gowns,
many of us must reduce. We must
exercise. We must watch our meals.
The carefully planned diet contains
adequate "bulk" to prevent faulty
elimination. Otherwise, skins may
turn sallow. Eyes become dull.

Laboratory tests show that
Kellogg's All-Bran supplies "bulk"
as well as vitamin B and iron. This
"bulk" is similar to that of leafy
vegetables.

Enjoy All-Bran as a tasty cereal
with milk — or use in cooking. Two
tablespoonfuls daily are usually suffi-
cient. How much better than taking
patent medicines — so often habit-
forming.

Kellogg's All-Bran helps satisfy
hunger without adding many calories
to the diet. At all grocers in the red-
and-green package. Made by Kellogg
in Battle Creek.

Constance Cummikgs, charming motion-picture player, viears
the neiv <windsu;ept silhouette in this lovely lace go=wn zvith its
off-the-shoulder decolletage, and the smart hip-length peplum.

WRITE FOR FREE BOOKLET

"Keep on the Sunny Side of Life"

Tells all the facts about faulty elimina-
tion, and how to correct it. Gives the
complete story of bran, with tempting
recipes. Special section on dieting, with
calorie table, reducing diets, height and
weight table. Profusely illustrated in
color. Free upon request.

Kellogg Company

Dept. W-6, Battle Creek, Mich.

Please send me a free copy of your
booklet, "Keep on the Sunny Side of
Life."

Name

Address.

102

'/u/ru^eAA;

SIL-O-ETTE

KG. U. S. PAT. OFF.

THERE IS NOTHING QUITE

LIKE IT IN A FORM-FITTING

UNDERGARMENT

It will delight you beyond words. Your
figure achieves a flawless elegance and
beauty of line with "PRINCESS SIL-O-
ETTE." No seams front and back . . .
no hooks to bother with . . . goes on
and off easily, over the head. Its uplift
brassiere and other copyrighted features
are ideally in tune with the new "cling-
ing" dress modes. You can be as active
as you like. "PRINCESS SIL-O-ETTE" is
made in the soft, extra dull rayon FAWN-
ETTE. Sizes 32 to 42 in Tea Rose and
White.

Leading department stores carry

SIL-O-ETTE in the knit underwear

departments

$1.15

PRICE EACH

SIL-O-ETTE

UNDERWEAR CORP.

29 lAJeit 30 ^.tteet A/ewTjerk

Photoplay Magazine for June, 1934

Sten, as Nana, it is true, commits suicrde, and
Marlene in " Song of Songs" winds up a
broken, disillusioned woman.

But none of the trio twitters indecisively.

They are the kind who are not and will not
be led astray by odd and quixotic notions.
They are well-balanced, bound somewhere.
They respect the flesh and their own inex-
haustible vitality and they operate on that
basis.

When they love, there is no mistake, and
their choice is sound. Misfortune may over-
take them, but it is not because of a mistake
in judgment.

They have an elementary appeal which
seemed to be what people wanted during the
late hard times. We are fed up with artifici-
ality, idle ceremony and conventions. We are
all hungry for the strong, earthy directness
symbolized by these three. That's why they
are heavy favorites to win.

ASA matter of hot fact, these ladies are so

^overwhelming, each in her own way, that
this war between them overshadows all the
ninety-and-nine other Hollywood contests.

The war lords of California are not wasting
any sleep over their duel with Garbo, Hepburn
& Co. They know that the martyrs cannot —
no never! — compete with the Marlenes and
the Maes. Salt looks like sugar, but flies
know the difference without having to read
the lettering on the bowl.

The world of movie-goers knows that these
blondes pull them harder and stay with them
longer than the others — and the movie-goers
prefer sugar.

So, the lines are drawn. The public sitting
in the pits and galleries is a Roman jury. If
thumbs point up, these particular stars will
prosper and endure. If the thumbs go down,
Anna Sten, Mae West or Marlene Dietrich,
or all three, will be thrown into the cage with
Leo and his family.

Up to the present, Mae West has been
triumphant, but it is going to be a long war.

Anna Sten has just barely started. She
promises to upset the balance of power, smash
the status quo and perhaps bomb the West out
of her cozy castle on the top of the world.

Marlene, whose appeal is unfathomable, is
the only one of the three who has a long and
distinguished screen career. She is older than
Anna, younger than Mae, more intellectual

than either, but not as shrewd or as versatile
as Mae.

It's going to be a darling war, and don't pre-
tend you aren't glad you came early and got
yourselves front seats from where you can see
the fun!

What makes the jolly old hostilities so
alluring is the fact that the girls have so much
in common. Shut your eyes and listen to them
speak. Anna and Marlene have that low,
breathy voice, the kind that is death to poise
and impersonal conversation. Both have the
spice of a foreign accent. Mae's voice is low,
too, also breathy, but in hers there is the nasal
tinkle of her Brooklyn birthplace.

All of them are softly padded women,
exquisitely moulded, real women, one hundred
per cent feminine, possessing a sunlike quality
which causes them to give off devastating rays.
Each of them is a vitality millionairess, but the
quality of the endowment of each differs.

Mae may be tough, but she has a queenish
dignity and aplomb.

Marlene has the bound and resilience of a
puma. She is the most graceful, also the most
elusive.

Anna, still somewhat an unknown quantity,
is a creature of infinite resources, a child of the
earth, functioning wholly by the sure instinct
of one who has lived all her life with growing
plants and animals and knows the true re-
lation between the physical and the spiritual.

Mae, of course, is the cleverest. Her sur-
face is metallic, her powers untarnished. She
can be counted on to do everything humanly
possible to retain her billion-headed public.

\ /f ARLENE is the most dazzling. The
power of her lure is perhaps the most in-
sidious, the least to be resisted.

Anna is the elemental child of unknown
power, possessing infinite tenderness.

There are your warriors. The bugles are
tootling. There is a sound of rustling silk.
The war is on, beautiful war!

Place your bets, ladies and gentlemen, your
bets on which one of these three ladies will
shine brightest, most glamorously one year
from today.

And, finally, don't worry, or underestimate
Garbo and Hepburn. They are actresses of
large gifts, especially Garbo. They are artists
first, and an artist is above flesh, fire, curves,
the devil and points West.

Get A Comedian, Quick!

CONTINUED FROM PAGE 67

night and day in their talents, they are fitting
examples to use in illustrating the far-reaching
influence of the CRA in Hollywood today.

To me, Edward Everett Horton has always
been one of the really fine comedians of screen
and stage. His talents are so rare, his perform-
ances so finely etched, that one fails to appreci-
ate his excellence until he becomes an "old
friend."

For some time Horton has been the most
underrated actor in pictures, despite the fact
that he has always been one of the highest-
salaried of players. On and off he is so un-
obtrusive that Hollywood doesn't quite "get"
him. He reminds me strongly of that other
master of subtlety in acting, Lewis Stone, who
is to drama what Horton is to comedy.

Horton is the easiest actor to handle I have
ever directed. He is never late on the set,

never asks for special privileges, is loved by the
crew and his fellow actors because of his
courtesy and thoughtfulness. He has two
quaint little eccentricities. He always carries
his own whisk-broom with him. And, instead
of tea at three on the set, Eddie brings out the
Florida water. This thorough gentleman has
increased the popularity of American actors in
England, as a result of his recent pictures
produced over there. He receives a cable
every week to please come on over.

Little known in Hollywood life, Horton is
somewhat of a recluse. Again like Lewis
Stone. His pride and joy is a large ranch in the
San Fernando valley, where he has planted
nearly every variety of tree and shrub known
to horticulture. His chief mission in life is to
persuade his friends and acquaintances to
"plant a tree."

Photoplay Magazine for June, 1934

On the screen Edward Everett Horton may
be called the people's favorite. But he is also
the comedians' comedian and the actors' actor.
What finesse! He never labors for laughs, but
he never misses one. I have never known him
to try to "steal " a scene. He plays to the actor
or actors who are in the scene with him, whether
he is "feeding" lines or being "fed." He never
catches flies — intentionally, if you know what
I mean.

It goes without saying that Horton has a
truly marvelous sense of timing. For example:
watch Horton when another character speaks a
line to him. Horton will apparently agree at
first, as if he understands perfectly — until it
suddenly dawns on him. In other words, he is
a past master of the "delayed take." He never
quite "gets" you at first. That's a sure sense of
comedy.

Every comedian knows that his toughest
competitor for laughs is a cute baby or a
colored funny man. I refer you to a scene in
"A Bedtime Story," played by Maurice
Chevalier, Baby LeRoy and Eddie Horton.
The baby is breaking watches. Naturally, the
audience's attention is centered on Baby
LeRoy. Horton was given the "topper" of the
scene, when Maurice gave Eddie's watch to the
baby. At first Horton is pleased, not realiz-
ing that it is his watch. (This is the %vay every
good CRA member would play the scene.)

JUST before the baby throws and breaks the
watch, the horrible truth dawns upon Horton,
who promptly becomes bewildered with appre-
hension. His words fail to make sense, which
"unconsciously" diverts the attention of the
audience to himself. Therefore, when the
watch is finally broken — it is quite simple for
the director to go to a close-up of Eddie Horton
realizing that it is his. And at that moment
the comedian is in command. It is his scene!
That's comedy! Jimmy Durante is just the
opposite in arriving at his comedy effects. His
terrific tempo, broad, but sincere and vital
characterization, and amazing personality are
as effective in their way.

Our Jimmy is perhaps the only celebrated
entertainer who has developed into a fine actor.
Unlike most unusual personalities, Jimmy is
easy to mold into a certain characterization be-
cause of his intense desire to give everything he
has for good old CRA. His mad, dynamic
style of comedy is so original that even when
it is kept under control for acting purposes, it
sparkles with an infectious quality.

In real life Jimmy pretends to be a buffoon
philosopher, a mad wit and a veritable Mr.
Malaprop. If Webster were alive he would
have Durante tried for murder — of the English
language. But Jimmy doesn't fool me. Not for
a minute. Underneath that cloak of buffoonery,
he is a sincere, conscientious comedian.

You will note that all the comedy relief
artists on the CRA honor rolls are highly com-
petent actors. Not merely comic personalities.
While comedy relief is as necessary to a
dramatic story as a love scene, it must never be
obvious. Too often it is dragged in by the
heels. The comedian must never be a roaming
character turned loose in the picture to get
laughs. He or she must be as natural to the
plot as are the hero, heroine and villain.

While the CRA is purely a mythical club,
which exists only in the minds of a few picture
directors and comedians, it has a far-reaching
influence for good, nevertheless.

The NRA, which is the most important
organization in our world of reality today, sup-
plies work for the people.

The CRA supplies the laughs.

KQOL

MILDLY MENTHOLATED CIGARETTES-CORK-TIPPED

FOR THE HIGHEST DEGREE OF THROAT COMFORT

Kodu!

KGDL

MILD MENTHOL

CORK TIPPED

Students of smoking pleasure are
graduating by the thousands to
this mildly mentholated ciga-
rette. In the first place, it's re-
freshing. Then, the smoke actu-
ally is cooler — your throat never
gets dry. And KOOLS are so
mildly mentholated nothing in-
terferes with the full enjoyment
of the fine tobacco flavor. Last —
not least — you get a FREE cou-
pon per pack. Save them for gilt-
edged initialed Congress Quality
U. S. Playing Cards. Other
nationally advertised premiums,
too. (Offer good in U. S. A. only.)

Send for illustrated premium list

Brown & Williamson Tobacco Corp.,
Louisville , Ky.

CORK-TIPPED...! 5? /orTWENT

ollywood Cinema

Fashions

ALABAMA

.1. Black & Sons, Birmingham

Kaufman's, Montgomery

ARIZONA

Korrick's Dry Goods Co., Phoenix

ARKANSAS

The New Pollock's, Fayetteville
Pollock Stores Co., Fort Smith
The M. M. Cohen Co.. Little Rock

CALIFORNIA
The May Co.. Los Angeles
The H. C. Capwell Co.. Oakland
Hale Bros., Inc., Sacramento
The Emporium, San Francisco
Lion Clothing Co., San Diego

COLORADO

The Denver Dry floods Co., Denver

CONNECTICUT

The Howland Dry Goods Co., Bridgeport

The Manhattan Shop. Hartford

The .lames H. Bunce Co., Middletown

Mantel! & Martin, Stamford

Sugenheimer Bros., Waterbury

DELAWARE

Arthur's Apparel Shop,

Inc., Wilmington

DIST. OF COLUMBIA
The Hecht Co., Washington

FLORIDA

Kohn-Furehgott Co., Jacksonville

Yowell-Drew Co., Orlando

La Mode, Pensacola

Rutland Bros., Inc.. St. Petersburg

Steyerman's Style Shop, Tallahassee

Maas Bros.. Tampa

GEORGIA

Michael Bros., Inc., Athens
Davison-Paxon Co., Atlanta
Smith Roberts Co., Griffin
Leopold Adler, Sa\-annah
Louis Steyerman & Sons. Inc.,

Thomasville
C. C. Varnedoe &; Co., Valdosta

IDAHO

The Mode. Ltd., Boise

Fargo-Wilson-Wells Co., Poeatello
The Vogue, Twin Falls

ILLINOIS

W. A. Carpenter Co., Champaign

Marshall Field & Co., Chicago

C. E. Burns Co.. Decatur

Clarke & Co., Peoria

i Kvens, Inc., Rockford

S. A. Barker Co., Springfield

INDIANA

The Fair Store, Inc., Anderson

De -longs. Inc., Evansville

Wolf it Dessauer Co., Fort Wayne

E. C. Minas Co., Hammond

Raymond Cooper, Inc., Indianapolis

Fashion Shop, Lafayette

The Schmitt-Kloepfer Co., Logansport

Benton's, South Bend

Meis Bros. Co., Terre Haute

Gimbel Bond Co., Vincennes

IOWA

M. L. Parker Co.. Davenport
Younker Bros., Des Moines
.1. F. Stampfer Co., Dubuque
Damon's Inc., Mason City
The Pelletier Co., Sioux City

KANSAS

The Pelletier Co., Topeka

Lew ins Fashion Shop. Wichita

PHOTOPLAY MAGAZINE'S
RETAIL STORE DIRECTORY

Whenever you go shopping consult this list of reliable stores,
offering faithful copies of HOLLYWOOD CINEMA FASH-
IONS and NATIONALLY KNOWN MERCHANDISE, such
as advertised in this issue of PHOTOPLAY. If this list does
not include a store in your home city, write the nearest store
for complete HOLLYWOOD CINEMAFASHION information.

KENTUCKY

The John R. Coppin O

The Denton Co.
II. 1'. Sclman C<

Covington
Lexington
Louisville

I OUISIANA

Rosenfeld Dry Goods Co.. Ltd..

Baton Rouge
Muller Co.. Lake Charles
Masur Bros.. Monroe
Leon Godchaux Clothing Co., Ltd,

New Orleans
Goldring's, Shreveport

MAINE

( 'hernowsky's. Augusta
1'nobskey's New York Store. Calais
B. Peck Co., Lewiston
Porteous, Mitchell & Braun Co..
Portland

MARYLAND
The Hub, Baltimore
Rosenbaum Bros., Cumberland
Fashionland, Hagerstown
Hochschild. Kohn & Co., Baltimore

MASSACHUSETTS
.Ionian Marsh Co.. Boston
Alexander's Fashion Shop. Brockton
R. A. McWhirr Co., Fall River
F. N. .loslin Co., Maiden
Boston Store, North Adams
The Wallace Co., Pittsfield
Almy-Bigelow & Washburn. Salem
Forbes & Wallace. Inc., Springfield
Gross Strauss Co., Wellesley
Gross Strauss Co.. Worcester

MICHIGAN

ffiii. Goodyear & Co.. Ann Arbor
Seaman's. Battle Creek
The. I. L. Hudson Co., Detroit
The Fair Store. Eseanaba
Nathan Strauss. Inc., Grand Rapids
Elaine Shop. Inc., Jackson
Gilniore Bros., Kalamazoo
J. W. Knapp Co., Lansing

MINNESOTA

M. C. Albenberg Co., Duluth
The Davton Co.. Minneapolis
Field-Schlick. Inc.. St. Paul
Alexander Reid & Co., Virginia

MISSISSIPPI

W. T. Fountain, Greenwood
Field s Women's Wear. Jackson
Liberty ShojB. Inc., Meridian
The Style Shop. Vicksburg

MISSOURI

The Christman Dry Goods Co.. Joplio

Kline's. Kansas City

The Paris, St. Joseph

Stix, Baer & Fuller Co., St. Louis

MONTANA

Hennessy Co., Butte

Stiles Style Shop, Great Falls

The N. Y. Dry Goods Co.. Helena

Epstein A; Katz, Miles Citj

NEBRASKA

Orkin Bros.. Lincoln

Thos. Kilpatrick & Co., Omaha

NEW JERSEY
M. E. Blatt Co.. Atlantic City
L. Bamberger & Co.. Newark
Quackenbush Co.. Paterson
Yard's, Trenton

NEW YORK

W. M. Whitney Co., Albany

Kalet's, Auburn

Sisson Bros.-Weldon Co., Binghamton

E. Jacobson, Cooperstown

The Safe Store, Inc., Dunkirk

The Gorton Co., Elmira

Merkel & Gelman. Inc., Glens Falls

Parisian. Inc.. Ithaca

Wm. A. Empsall <& Co., Malone

Carson & Towner Co., Middletown

John Schoonmaker & Son, Inc., Newburt;

R. H. Macy & Co., Inc.. New York City

M. J. McDonald & Co., Oswego

Sharron's, Inc., Plattsburgh

Dorothy Miller. Poughkecpsic

E. F. Norton Co.. Inc., Salamanca

Altman'8, Saranac Lake

H. S. Barney Co.. Schenectady

Flah & Co., Inc., Syracuse

Wm. H. Frear & Co., Inc.. Troy

D. Price <Sr Co.. Utica

Mabel Bentley, Watertown

NORTH CAROLINA

Bon Marche, Inc.. Asheville
J. B. Ivey & Co.. Charlotte
Ellis, Stone & Co., Inc., Durham
Ladies' Sport Shoppe, Gastonia
Ellis, Stone & Co., Inc., Greensboro
Taylor Furnishing Co., Raleigh
Purcelle Modes, Salisbury
J. K. Hoyt, Washington
Dressmaker Shop, Wilmington

NORTH DAKOTA

The Black Co., Fargo
Heller's, Grand Forks

OHIO

The A. Polsky Co., Akron

Spring-Holzworth Co., Alliance

The D. Zenner Co., Athens

Darling Shops, Canton

The W. M. Norvell Co.. Chillieothe

Irwin's & Kline's. Cincinnati

The Higbee Co.. Cleveland

The Morehouse Martens Co.. Columbus

Elder & Johnston Co., Dayton

The Lewis Mercantile Co., Elyria

Simon's, Findlay

Chas. P. Wiseman & Co., Lancaster

The King Dry Goods Co.. Newark

The Edward Wren Co., Springfield

The Hub, Steubenville

La Salle & Koch Co., Toledo

The Strouss-Hirschberg Co., Youngstown

The H. Weber Sons & Co., Zanesville

OKLAHOMA

Herzberg's. Enid

Pollock's. McAlester

Kerr Dry Goods Co., Oklahoma City

C. iSt S. Newmans, Tulsa

OREGON

Meier & Frank Co., Portland

PENNSYLVANIA

Hess Bros., Inc.. Allentown

Brett's, Inc., Altoona

R. S. Goldstein. Brownsville

Fashionland, Chambersburg

Wm. Laubach <V Sons, Inc., Easton

Erie Dry Goods Co.. Erie

Bowman & Co., Harrisburg

Penn Traffic Co., Johnstown

Watt & Stiaod, Inc., Lancaster

The Bon Ton. Lebanon

Will J. Cox Co.. McKeesi>ort

Jenny Shop, Meadville

May's, Nanticoke

Sol Silverman, New Kensington

Gimbel Bros., Philadelphia

Joseph Home Co.. Pittsburgh

A. G. Rosenthal <fe Co., Punxsutawney

Croll & Keck, Reading

Samter Bros. Co., Scranton

Reba Miller. Shamokin

Rosenbaum Bros.. Uniontown

E. L. Stein, Warren

Caldwell Store, Inc., Washington

The Isaac Long Store, Wilkes-Barre

Worth's, Inc., York

RHODE ISLAND

Shartenberg & Robinson Co., Pawtucket

Ruby Shoppe, Inc. Woonsocket

SOUTH CAROLINA
W. A. Darnell. Anderson
Ladies Ready to Wear. Clinton
J. W. Haltiwanger. Columbia
Cabaniss-Gardner, Greenville

SOUTH DAKOTA
Ohvin-Angell Co., Aberdeen
Schaller's, Watertown
The Style Shop, Winner

TENNESSEE
The H. P. King Co.. Bristol
The Vogue, Chattanooga
King's, Inc., Johnson City
Anderson Dulin Varnell, Inc., Knoxvflle
J. Goldsmith <St Sons, Memphis
Loveman, Berger & Teitlebaum, Inc.,
Nashville

TEXAS

E. M. Scarbrough & Sons, Austin

Worth's, Inc., Beaumont

The Smart Shop, Corpus Christi

Herzstein's, Dalhart

Volk Bros.. Co., Dallas

H. M. Russell & Sons Co., Denton

Popular Dry Goods Co., El Paso

Washer Bros., Fort Worth

Palais Royal, Inc., Long View

A. Bluestine. Port Arthur

Baker-Hemphill Co., San Angelo

Wolf & Marx Co., San Antonio

The Goldstein-Migel Co., Waco

Georgiauna Shop, Wichita Falls

UTAH

Zion Co-op. Merc. Institution, Salt Lake
City

VERMONT

The Fashion Shop. Barre

W. G. Reynolds Co., Burlington

Chas. Sterns <*; Co., Rutland

VIRGINIA

Claire's Fashion Shop, Galax

C. M. Guggcnheimer, Inc., Lynchburg

Naehman Dept. Store, Inc., Newport News

Jesse Frieden. Norfolk

Glazier's, Portsmouth

Verry Burk, Richmond

S. H. Hieronimus Co., Inc., Roanoke

Ballard & Smith, Suffolk

WASHINGTON

Best's Apparel, Inc., Seattle
The Palace Store, Spokane
The Fisher Co., Tacoma

WEST VIRGINIA

The Women's Shop, Beckley

The Vogue. Bluefield

Coyle & Richardson. Inc., Charleston

JoUifFe's, Grafton

Shear's Women's Shop, Keyser

Margolis Bros., Logan

George Katz & Sons. Martinshurg.

Dils Bros. & Co., Parkersburg

WISCONSIN

C. & S. Newman's, Green Bay
Simpson Garment, Madison
Shouette Bros., Manitowoc
Stuart's. Milwaukee
Racine Cloak Co., Racine

10',

Photoplay Magazine fok June, 1934

IOi

"A Whale of a
Man"

[continued from i'vck 29]

more prevalent in the realms of pugilism. A
decent fellow at heart, he revolted against his
surroundings; but no man is bigger, until later,
than the environment through which he
moves.

After a frame-up which did not frame,
McLaglen and his manager staged a tight of
their own. A pool-room was wrecked as a
result, and McLaglen was arrested.

A strange man came to pay his tine. "Quit
fighting when you can," the stranger said.
"You are too intelligent to walk the rest of
your life on your heels."

He gave the bishop's son twenty dollars,
and much food for thought. After they had
separated, Victor learned that the man had
been a leader of a gang of train robbers.

T_TK did not forget the man's advice, but the
securing of food was imperative, even to a
future tilm actor.

After a half-dozen other fights, McLaglen
found himself in Vancouver. It was 1909.
A dark pugilist had but recently come to the
same town on his way from Australia, where
he had defeated Tommy Burns.

Victor was matched with the dark gentle-
man, immortal in the history of pugibsm as
Jack Johnson.

The bout was for six rounds, and all the
money the fighters and their managers could
get. The actor remembers quite vividly all
the incidents which pertained to the memorable
encounter. Mr. Johnson, whose teeth were
yellow with precious metal, smiled the golden
smile which was soon to become famous. In
the head of this mightiest ebony bruiser of all
time was no concern for the future. He
acted so unconcerned that one would have
thought Mr. McLaglen was not in the ring
with him.

The bout went six rounds, and Victor lost
the decision just as surely as the Scotchman
had lost his belt so long before. There was
only this difference — the Scotchman might
have found his belt had he returned again to
look for it. The decision which Victor lost
was lost forever.

"DUT some good can come, even out of the

dingy halls of fistiana. McLaglen received
nine hundred dollars for his efforts.

Before long, an offer came from a manu-
facturing firm in Chicago. Victor was guar-
anteed a nice sum if he would pose as "the
human windmill."

Remembering the words of the train robber
who had helped him in a time of trouble, lie
gave up the ring.

Even to this day, McLaglen's laughter can
be heard loud and long on the streets of
Hollywood when the Chicago firm's offer is
recalled. Long later. McLaglen said, "John-
son could stand the hardest punch of any man
I ever fought." And when I asked, " How do
you know?" he laughed loud and long again.

It may be said here that Victor McLaglen
is one of the finest and gentlest men in Holly-
wood. But that, as Kipling would say, is
another story.

He next became a "carnival rat." Joining
forces with Hume Duvel, the Scotch wrestler,
they bought a gilded wagon, and joined the

.S HAPPIER times return,
there eoines an upward trend
in prices, too. Those who plait
on buying Community Platr
will find an advantage in
purchasing Community Plate
while prices are still so low.

Clever Me...!

I bought

My 'Community

in time

Ask your dealer for Community's
lost-tniiuile jtrosperity gift offer —

"THE SILVER PARADE"

COMMUNITY PLATE

LEADERSHIP IN DESIGN A U T II O R I T V

io6

ROOF

1 OUT OF 2 WOMEN OFFERED
$2 FOR THIS POWDER

We posted our little price-reporter in the
top-floor dressing-room at the Waldorf-
Astoria and she caught smart New Yorkers
as they swept in and out from the roof-
terrace dinner tables. She offered these
women a soft, creamy, clinging powder in
plain, unlettered boxes and kept a record of
the price they thought would be right for
such a dainty product. One out of every two
women said "at least $2 a box" and some
guessed as high as $3. Yet this was Armand
Bouquet Powder, sold everywhere at 50c!
You certainly want to try a 50c powder
that smooths on, stays on and glorifies the
complexion like a $3 brand! Use coupon!

ARMAND, Des Moines, Iowa.

Send me a free sample of Armand Bouquet
Powder. PH<> «-4"B

Name .

Address

Photoplay Magazine for June, 1934

caravan of a circus. Touring the length of
Canada, they would offer gazing rustics a tidy
sum for anyone among them who could endure
their wrestling tactics twenty minutes. Now
all men feel that they can wrestle, and men in
the hinterland secretly feel that another
Frank Gotch was lost to the world when they
got married and settled down as farmers
instead of wrestlers.

Hume and McLaglen made considerable
money and opened a physical culture school.
They were known as "The Muscle Builders."
As muscles were already built in the North-
west, they soon failed, and became "carnival
rats" again.

HPHIS time they took a fiddler along, feeling
no doubt that a rustic would rather be
thrown to the tune of music. The fiddler played
"Silver Threads Among the Gold," and many
a man gave up the unequal struggle to the
wailing of the music, and the arms of the
wrestlers.

If there were no opponents to wrestle with
the touring athletes, Mr. Hume Duvel would
do "strong man stunts," while Mr. McLaglen
would pose as a "classical statue."

But even wrestlers must sooner or later
part. Duvel and McLaglen were no exception.

We next find the future actor in San Fran-
cisco, with a yen to join a brother in Aus-
tralia, "for no particular reason." He did.
And from there the two brothers took a boat
to the Fiji Islands, where they joined a
"pearling expedition" and remained at sea for
several months.

With the money earned on the long cruise
the two brothers invaded India, where Victor
secured work teaching the art of physical
culture to the Rajah of Akolkot. He became
a member of the Rajah's household, and the
future seemed serene. Then somebody
poisoned the Rajah. Victor had nothing to
do with the assassination.

Victor and his brother then organized a
vaudeville act. They reached Capetown,
South Africa, as war was declared. It was
1914. They both sailed immediately for
England.

Victor subsequently received a commission
and was sent to Mesopotamia.

A BOUT his war experiences, Victor talks
•* Mittle. However, when the war ended, he
was in the fabled city of Bagdad, where he
served as provost-marshal.

But with no more fighting, army life again
began to pall on him. There was an army
boxing tournament which, if he won it, would
take him back to England. He won.

Victor returned to England, with eight
hundred pounds.

Walking in Piccadilly on one of the three
sunny days in London that year, he met an
old friend from the army. The friend was
working for L. B. Davidson, a motion picture
producer.

" My boss is looking for a big chap who can
fight," was the news given McLaglen.

As Jack Johnson was not in the neighbor-
hood, McLaglen voiced the opinion that Mr.
Davidson need look no further. He went to
see him. Mr. Davidson was of the same
opinion.

He hired McLaglen to play the lead in
"The Call of the Road," at twenty pounds a
week. When this picture was released,
Davidson gave him a contract for twenty more
films. At the end of this time, he at last
received an offer from Hollywood.

J. Stuart Blackton, then a leading American
director, requested him to play in "The

Beloved Brute" — at two hundred and fifty
per week.

That was ten years ago.

The film was released and forgotten, and
McLaglen with it. He met scores of English
friends who were soldiers of fortune like him-
self. All were broke. McLaglen shared what
he had, and was soon in their predicament.

Months of misery passed, during which
McLaglen came to one conclusion. He had
wandered over the world and had tried many
things. He would remain in Hollywood.

Like many old-time pugilists, he haunted the
American Legion Boxing Stadium. One night,
Frank Lloyd, the director of "Cavalcade,"
who won this year's award from the Academy
of Motion Picture Arts and Sciences for the
best direction of a motion picture, and another
man, stared at him.

When the last bout was over, he was ap-
proached by the gentleman who was with
Frank Lloyd. He was Tom Kennedy, a one-
time great pugilist. He asked for McLaglen's
name and address.

TN a few days McLaglen had a call from

Frank Lloyd, who was casting for "Winds
of Chance." The hero was a smiling French-
Canadian. The Scotch-Irishman was given
the part, and "stole the picture." As a result,
he was handed a five-year-contract at eight
hundred dollars per week.

In Hollywood, as in life, it is always one
thing after another. No parts could be found
for him. Being a philosopher, he settled down
to draw his weekly salary and await his
opportunity.

In two years it came. The Fox Company
had decided to make "What Price Glory?"
The rumor spread about Hollywood that
Louis Wolheim, the broken-nosed immortal
player of the leading role on the New York
stage, had already been cast as the lead in the
screen version.

Another man might have given up — but not
McLaglen.

Raoul Walsh was the director, the man to
be convinced. Walsh, a highly capable man,
is Spanish and Irish, and in spite of his im-
pulsive ancestry, is stern and cold on the
exterior.

"I want to play Captain Flagg," McLaglen
said to Walsh.

"Everybody wants to play Captain Flagg"
was Walsh's rejoinder.

"But no man can play it like me," returned
McLaglen.

"Did you ever hear of Louis Wolheim?"
asked Walsh.

"Yes — and that goes for him, too," said the
man who had not been afraid to mix with
Jack Johnson.

Walsh goaded him a while longer and then
ordered that he be given a test.

"VyfcLAGLEN snarled and blasphemed
■*■* through the great part. He literally
burned the camera with his gusto.

The test was seen by Walsh.

McLaglen got the part.

The world knows the rest of the story.
Victor McLaglen's salary was adjusted at a
higher figure.

I saw the picture with Louis Wolheim.
Feeling that no man could recapture the
tremendous vitality with which he had first
given the role, I entered the theater with him.

When the film was finished, Wolheim turned
to me and said magnanimously:

"Jim, he's a whale of a man. He's going
places."

And I agreed.

Photoplay Magazine for June, 1934

107

Cleopatra Comes To
Hollywood

[ CONTINUED FROM PAGE 47 ]

Whereupon Cecil leaped two feet and landed
squarely on all four children, which just set
everything off again.

"You brought the asp with you?" Cecil
asked in amazement.

"Yes, in case I want to get out of the place
by the quickest route. As I understand it, a
little asp bite would be perfect for a lot of
Holly-wood people."

Directly they rode to Sid Grauman's Chinese
Theater so that Cleopatra could put her foot-
prints in the cement stones beside the foot-
prints of the other famous stars.

"T5UT I am not at my best, standing," Cleo
urged. "If this man wishes my imprint,
he'll get it in my most graceful position.
Therefore, he'll either get it while I recline, or
not at all. And with fans waving, also, please."
So Sid waved the fans, while Cleo reclined in
the wet cement. The less said of the imprint,
the better.

From there they proceeded to the Para-
mount studios. Earl Carroll, the famous
chooser of beauties, passed them on the way.
Knowing he failed to recognize Cleopatra,
Cecil said, "And what do you think of this fair
beauty for your 'Vanities'?" (For after all,
she was pure Greek and fair of face.)

"Not the type," Carroll said. "Much too
fat. Not enough appeal. I don't think
honestly any man would look twice at her. Of
course, with some heavy dieting and a few
lessons in allure — . How old are you?" he
asked abruptly.

" Some two thousand years," she replied, and
they carried Carroll out.

"That creature. That poor, thin creature
with the thin and hungry look," she went about
saying of Carole Lombard, and the same of
Claudette Colbert. "How unlovely of body
they are."

"But this young woman," they said of
Claudette, "is to portray you in the picture.
That is, if you do not play the part yourself."

And this time they carried Cleo to the air.
" Those limbs. Those hips. So wasted. Why
Antony would have loathed limbs like that.
There's not a good asp's bite in the whole
creature."

CUDDENLY, face to face, she met Mae
^West. "This woman is of better form," said
Cleo, "but her technique is wrong. She hasn't
the right warmth for ensnaring the male."

They carried all of Paramount out this time.

"Watch," quoth Cleo. "I will show you.
Yonder comes a comely man. Behold ! "

And sure enough Georgie Raft did, indeed,
approach.

" 'Ello, Mae," he said. "Howsa kid?"

"Swell, baby. How 'm I doing?"

"Oh, not bad. But I'm feeling low today.
Kinda blue."

"Aw, cheer up, kid. Life's just a merry-go-
round. Come on up. You might get a brass
ring."

"Naw, I— "

"Young man," interrupted Cleo, "I see, in-
deed, that yeu are sad. I, too, feel a pensive-
ness of soul. I know too well that overpower-
ing sense of loneliness and forsakenness. If you
are sad, let me, too, be sad with you. If — "

Prize-winning "DOGGYS'
of interest this season

$BlH

^<&

PHHIHHMi

They've taken the style prize this season !
For these smart "Doggys" are Phoenix'
new hosiery colors. Collie's a true beige,
for wear with navy blues and browns.
Setter has a warm beige cast, that makes
it nice with the brighter costume colors.
Spaniel is a darker beige, for corals, rust,
cinnamon brown. Greyhound is the per-
fect grey-beige neutral, good with every-
thing. You can get "Doggy" colors in
any style of Phoenix Hosiery, 85c to
$1.95 the pair. Try Phoenix "Everyday"
sheers, No. 705, $1.00 the pair.

• Hooray! . .shoe heels are
coming down

Count them ! Four new shoes with lower
heels. For walking . . . for bicycling or
roller skating . . . for any kind of foot-
work. Activity of the most active kind
won't faze Phoenix Long-mileage Foot.
Tipt-toe and Duo-heel are reenforced
where wear is hardest, just purposely to
give you long miles of smart service.
Every Phoenix stocking is made of Certi-
fied Silk, for beauty and long wear.

Jif PHOENIX

Phoenix "Standby" service sheer No.
772, $1 .25 the pair. Others $1 .00 to $1 .65.

# Paris splits its skirts

Another pre-war fashion makes good!
So stockings must be flawless. Phoenix
Shadowless Hosiery is clear as crystal —
even in texture and color with no un-
flattering shadows or rings. Beautiful
legs are made even more beautiful! Try
a pair of Phoenix "Fluff" No. 779 —
$1.25. Others priced from $1 .35 to $1 .95 .

• Custom-Fit Top fits
every sport

No matter what— golf, shuffle-board, or
just sitting — you'll be so much more
comfortable in Phoenix Custom-Fit Top!
It stretches both ways, and gives like
your skin. And this comfortable stretch
lessens the danger of garter runs, too.
Remember — Custom-Fit Top fits any
leg as though it were made for it. And
it comes only in Phoenix Hosiery, $1 to
$1.95. Wear Phoenix "Street" afternoon
Shadowless chiffons, No. 766 — $1.25.

PHOENIX HOSIERY «,<*/ CUSTOM-FIT TOP

io8

SantaTe

cuts old cost

ADDS
NtW COMfORT

• Train travel was never so
economical, so comfortable.

• By summer all Santa Fe lim-
iteds will carry certain AIR'
CONDITIONED equipment.

• This includes the CALI-
FORNIA LIMITED, GRAND
CANYON LIMITED, and
THE RANGER, on which
no extra fare is charged. Also
THE CHIEF, the fastest and
most exclusive train between
Chicago and California.

• The Santa Fe has deeply
cut fares. Reduced Pullman
charges one-third. Dining
car prices also cut.

• Two weeks are ample for a
complete vacation in the cool
vacation lands of CALIFOR-
NIA, COLORADO, NEW
MEXICO and ARIZONA.

• You will save vacation dol-
lars by consulting Santa Fe rep'
resentative or mail coupon below.

1934 — National Parks Year

All- Expense Tours on certain dates
this summer

"-"MAIL COUPON '

W. J. BLACK, P. T. M. Santa Fe System Lines

1231 Railway Exchange, Chicago

Send Picture Folders and quote new fare

from

Name _

Photoplay Magazine for June, 1934

"Sister," breathed Georgie, "where have
you been all my life? Come to papa," and
seizing her arm, strode off, leaving an amazed
and dumfounded Mae West as cold as last
week's potato. While Cleo looked back over
her shoulder and whispered, "How am / doing,
baby?"

A T luncheon at the Brown Derby, she natu-
rally startled the natives into fits by reclin-
ing in the booth to eat her luncheon. Which
would have been all right if in some way Bert
Wheeler, all unnoticed, hadn't been squashed
silly underneath her.

At the hurried eating and frantic talking
about her, she grew ill. And had to be led from
the place.

By the end of the week, every studio casting
office in town had turned her down. She
couldn't even get a job in a Bus Berkeley
chorus.

"No appeal," was the verdict, while every
wife in town went screaming for Cecil's scalp,
because every male, married and single, fol-
lowed her about even as a puppy his master.

Cecil, in fact, took to hiding, so great grew
the popularity of the fair charmer from across
the sea for the male population of Hollywood.

In great distress, a famous beauty and screen
star went to Cleo alone.

T'M about to lose my lover," she sobbed.
I caught him flirting with his wife. How
may I go about holding him, please tell me.
I shall die without him."

"Bah," scoffed Cleo, "you are a lot of slow-
witted fools. I have watched you all. Over
two thousand years ago we were miles ahead of
you in this game of love. We made it an art.
We dined slowly and sumptuously to the teas-
ing strains of music and the maddening whirl
of dancing girls and never, by the gods above,
ordered a ham on rye. And here, what do I

Address-

See? Boys and girls in broken down flivvers
driving up to dilapidated stands and screaming,
'Two hot dogs with mustard. How about a
little kiss, baby?'

"Bah, fools, all of you. To wear the ill-
fitting trousers of men and think any man's
love could survive that. Do you try with all
the sacred wiles that the gods gave to women to
hold your men? No! You think first and
always of yourselves. And your careers.
Think what I did with my career for Antony's
sake.

"And look what I did to Antony's, too," she
muttered to herself.

"Are you glad when your man is glad? Are
you sad when your man is sad?

" 'Come, we go larking,' Antony would
often say to me and, in servants' clothes, we
went gaily about the city of Alexandria, calling
to people and pounding at doors till the dawn
of the morning.

"And all the time my feet hurt till I could
scarcely stand, but think you I let him know
it? You are all dull-witted souls.

" T~\0 I see you playing when he wants to
"^■'play? Do I see you weeping when he wants
to weep? Do I see you bearing children — well,
one maybe, but never twins — to hold the man
you love?

"Do I see you dissolving pearls in wine to
drink his health? Why. half of you don't
know how to go about getting the pearls in the
first place.

" You are the famous sirens of this Twentieth
Century. Well, I can see the look on Antony's
face had I stooped to a ham sandwich and a
'cuppa coffee.' And your statesmen! You and
your politicians, in comparison with our noble
Brutus, our learned Cicero and our stately
Cassius. They would have been more apt to
drop dead than say to me, ' Hi, Cleo! Park the
body.'

After the original Cleopatra barged huffily for home, her asp basket on her

arm, Claudette Colbert stepped into the role. And nobody complained!

For Claudette is the modern idea of queenly, vampish beauty

Photoplay Magazine for June, 1934

109

-And your bath-tubs. Those two-by-four

cramp-getters with no precious oils, no halms,
no slaves. And bah, to those Central Avenue
slaves who have not learned to shoot a decent
game of dice." And with that Cleo scattered
their I. O. U.'s all over the ground. She kepi
their cash, however.

" \nd your games. Sports, you call them.
With silly men in silly bloomers running about
like children, while someone shouts, 'He's out.1
That, then, is the sport in the arenas of the red-
blooded American. I am laughing.

'"And for your beauty, which I expected to
so overwhelm me, I wouldn't give a fig. We
learned the art of the henna pot, the rouge pol
and the richly-scented oils that would make
your ghastly, red-smeared faces seem as
clowns.

" Why. name one among you w ho could take.
as I did, a great noble and a great leader of
armies from his men, and keep him fourteen
years for her own? You have a hard time
keeping one little French marquis divided
among you.

'" "COOLS, fools, all of you. I came back ex-
■*■ pecting to learn from you. To return with
new lessons learned in the art of love. Why,
we'd forgotten more about it two thousand
years ago than you've ever found out.

"I sicken of all of you. And your movies.
With those comical love scenes tilled with
passion. Are they to laugh? And of all this
Hollywood, I tire. Where real allure, they
think, consists of false eyelashes and a pancake
stomach. To all of you forever, farewell."

And grabbing up her four children and her
little asp basket, she flung herself on the
nearest street car and made for her barge.

From the back platform she called, "Tell
Cecil I've gone back to my little grass shack,
and phooie to all of you."

Cleo was on her way. And Claudette was
left to play Cleopatra.

Would You Girls
Marry Dick Powell?

[continued from page 49]

you relish Arkansas sorghum? Or is that too
personal? Well. Dick likes Arkansas sorghum
on his toast for breakfast. And something tells
me you'll like it and eat it, or else Ellis will
want to know why. I'd much prefer the
sorghum.

There may be a five-minute lull in the tor-
nado of events, but I doubt it. There never
has been. liy this time, Ellis has been out to
the studio and returned with Dick's fan mail —
as many as eight hundred and fifty-six letters in
one day. From then on, it's no use.

"pLLIS sorts the mail aloud, reads it aloud
and endorses fan clubs on the side. Also
aloud. Al! the tables, chairs, sofas, floors, roofs,
etc. are covered 'with letters waiting to be
sorted. The intelligent ones are stacked in one
pile. Tlie I-want-a-picture ones in another.
The I'm-wild-about-you ones in another.

There's no place left to sit or go, without
walking over a couple of hundred I'm-wild-
about-you letters. So you may decide to take
a good hot, hot bath. But be careful. It's
usually about now the persistent insurance
agent returns and comes in through the cellar
window, which leads into the hall off the bath.
That makes it cozy for everyone.

I IO

No Kisses for
BAD COMPLEXIONS

Want to be kissed ? Then make sure your
skin has the tresh transparency only
a clean skin can have. Many women who
thought they had been getting clean by old-
type methods discovered on using Ambrosia,
the pore-deep cleanser, that their skins had
jiever been so clean before.

You feel Ambrosia tingle; you know it is
removing all deep-lying dirt from the pores.
That's why it clears muddy complexions so
quickly, preventing blackheads and pimples.
Skin has the kissable freshness of youth.

For oily skins: follow Ambrosia Cleanser
■with Ambrosia Tightener.

Mildly antiseptic, Ambrosia Tightener
reduces large pores, normalizes oiliness, re-
freshes and stimulates.

For dry skins: Follow Ambrosia Cleanser
•with Ambrosia Dry-Skin Cream. It pene-
trates, replenishes natural oil, smooths
wrinkles, ends dry, flaky condition.

Ask for Ambrosia products at any drug
or department store. 75$. Or in smaller
sizes at 10^ stores. Ambrosia preparations
were tested by famous New York skin spe-
cialists on women of all skin-types. Write
for free report of doctor's examinations and
full directions for use. Address Hinze Am-
brosia, Dept. P, 114 Fifth Ave., N. Y. C.

Women!

End Worry and
Uncertainty

PA85«0»O°€EN

Feminine Hygiene Tablets

NO WATER REQUIRED

PAR-I-O-GEN tablets dissolve in the natural secretions
forming a strong chlorine solution which destroys germs in a
few moments. Yet, unlike poisonous, burning acidsolutions,
they are soothing and harmless to the most delicate tissues.
No water or other accessories are needed. Odorless, stainless,

Send for Trial Box ! So you may try this modern feminine
necessity, we offer a special trial box of WRITE FOR

five tablets, conveniently packaged for
travel or home use, with FREE booklet
on their need and use, for only
fifty cents (stamps or coin),
postpaid. Try them once and>
you will never be without them.

pp. 634

American Drug and Chemical Co.
420 So. 6th St., Minneapolis, Minn
I enclose 50c for a trial box of five
PAR-I-O-GEN tablets with instructions,
in plain wrapper.

Name . . .
Address .

Photoplay Magazine for June, 1934

The noise and the confusion of Ellis throwing
him out the way he came in will, more than
likely, jar the key to Pittsburgh from its nail
on the wall and, unless you're a quick dodger,
will lay you flatter than a pancake. Which is
just the moment a boy brings another message
from Little Rock, this time from the mayor,
requesting Dick to lead the Elk's parade and
twirl a red, white and blue umbrella in one
hand and play the clarinet with the other.

The comic part of it is, if he isn't working,
Dick will lead the Elk's parade, twirling and
tooting like mad. And try to make Dick under-
stand that on that day the Richard Arlens are
giving a very swanky party, and you, his little
wife, have a new gown, and he and you are
expected. No difference. Little Rock is calling,
and Little Rock shall be answered to its own
satisfaction.

"VDU see, you'd have to know that human,
earthly, real, honest-to-goodness quality
about Dick that may be a little difficult to
understand.

The humanness, the genuineness, the
simple, unaffectedness of the boy that hits you
like a blow when you really know him. You
will be humble. He's a boy who's in Holly-
wood, but not of it. Not of it, remember. That's
important.

But, to go on. You'd no more than have a
swanky shindig started, when Dick would
come traipsing in with four or five mechanics
from the studio. In the front way. " Going to
stay for supper," Dick would grin. And they'd
stay. And how would you like that?

He's just as likely to take his regular evening
voice lesson with a room full of bridge players.
What does Dick care?

Of course, it goes without saying, the phone
will ring all day, with Ellis in a perfect state,
trying to keep the calls of those who want to
see Dick because they knew him when he was
eight, separated from those who knew him
when he was ten, and those who just knew him
when. And the twenty-seven girls who call
every day and don't know him, but would like
to. Sometime during this, a wide-eyed blonde
will ring the front bell, if she can crowd out a
dozen solicitors. The blonde will say she is a
Dick Powell admirer, tee hee, and would he
buy her home-made candy, tee hee, at only
two dollars a pound, and a couple of more
tee hees.

Invitations to dinners and parties would
probably break your heart wide open because
they come from the biggest stars. But Dick
would be working!

When Dick is working, the King of England
could summon him and Dick wouldn't go. Or
talk about it, either.

A T six, he barges home from the studio, looks
over his mail and telephone slips, auto-
graphs pictures, and promptly at six-thirty eats
an enormous dinner. It would only be a waste
of your time trying to have cocktails first, or
trying to serve dinner at the fashionable hour
of eight. Dick eats at six-thirty, see? Like
everybody else in Little Rock. And oh, yes,
how are you on pickled walnuts? Ellis, who is
English, my dears, insistson the pickled walnuts,
so I wouldn't say too much about them. In
fact, I'd eat them and gag in silence.

Dick telephones his dad and mother in Little
Rock after dinner, and he is off to bed at nine-
thirty, taking along a few movie magazines.
Maybe peace and quiet will reign a little while.

If Dick has to go back to the studio for night
work, you might as well give up and go for a
walk. Because at midnight he'll return, prob-
ably with half the mechanics on the lot

accompanying him. And such a frying of eggs
and warming of gravy you never heard.

The afternoons Dick isn't working, he'll head
for the polo field behind the studio and, astride
one of two ponies he recently bought, he'll play
like mad until three o'clock. Then, he'll race
for a "sandwich," which, to him, consists of
slices of cold ham, salad, vegetables, milk and
dessert. It's always a "sandwich" to Dick.

By the way, don't count on Dick getting you
into pictures. That is, if you aren't already in.
Because if you're in, you'll get out. He isn't
going to have his wife working in pictures, he
says. All right, laugh. You can't high pres-
sure Dick. Executives have tried that, and
know differently. He's not easy, sweetly senti-
mental, wishy-washy, that boy.

That definite something Dick puts over on
the screen is a real part of him. It's evidenced
in his strong, enormous hands. The set of his
jaw when the smile has vanished. The glint of
his eye when the twinkle has faded.

TPVCK will be boss. And you'll like it. Along
with Arkansas sorghum.

We watched Dick and Mary Brian at a
Hollywood movie the other night. All the
center seats were taken.

"So sorry, Mr. Powell," the usher fawned,
"but I'm sure I can get you center seats in a
minute."

"What the matter with those unoccupied
seats on the side?" Dick asked.

"Oh, they wouldn't be good," Mary said.
"We'll wait for center seats."

"We'll take those on the side. They're good
enough for other people," Dick said. They sat
on the side.

And imagine your distress if you were hoity-
toity in the drawing-room, with some other
hoity-toityers, and the telephone man came to
repair the phone. He wouldn't get to fix it.
Dick would have out his pliers, his screw-
drivers, his monkey-wrenches, his overalls on,
and not only fix the phone, but give a lesson in
telephone repairing that would be a classic. To
top it off, he would ruin you utterly by
announcing with a grin, "I used to be the best
telephone repair man in Little Rock, Arkansas."

Could you take it girls? Could you?

Oh yes, and about funny looking mutt dogs
with big heads and no tails worth speaking of.
How are you on those? Dick has a habit of
gathering up all the odd-looking stray purps in
the neighborhood. Let the fleas leap where
they may.

HPHEN, just about the time you decide to have
a nice quiet day, Ellis will decide to take
inventory, as he calls it. Dick's ties, socks,
suits and whatnots will be strewn over prac-
tically all of Toluca Lake while Ellis takes
inventory. And try to stop him.

Another thing about Dick:

"I want to get away," he says. "Out of
town. Out on a ranch somewhere. And build
myself a regular ranch home with a kitchen
eighteen by thirty feet, with a dining-table
right in the middle, so I can make pancakes
and flip 'em over to the table. Or really cook
and serve a meal right there. And no going to
town every day or every week. I'd live at that
ranch. And when work didn't call, I'd stay
there."

And sister, if you were married to Dick
Powell, so would you. And no going to town,
remember.

So how about it? You know now at least a
little of what life with Dick Powell would
be like.

Do you think you could take it?

Yea, so could I. A lifetime of it. ■

Photoplay Magazine for Tune, 1934

1 1 i

A Broken Heart
In Hollywood

J
[continued from i M i 38

by the roadside and Julia knew — at last — she
was in California, that the full realization of
what she had done came over her. There
would be no one to greet her when she arrived
in Los Angeles.

Xo one to clasp her hand and say. "Wel-
come, Julia." Xo one to cheer her up if she
were disheartened.

When the bus finally arrived, she watched
her traveling companions being greeted by
friends.

Julia quickly stole across the street I
small hotel.

She was in Los Angeles, she kept whispering
to herself, and soon would be in her dream
city — Hollywood. And in just a few days
would be a part of that fascinating world of
motion pictures. There was no doubt of thai
in her heart.

NEXT morning, a street car bearing I
HOLLYWOOD. BOULEVARD caught
her eye and, with her heart beating wildly, she
climbed aboard. She knew, by her careful
reading of magazines, that both Columbia and
RKO- Radio studios were on Gowtr St net in
Hollywood. So, some thirty minutes later,
she alighted at Gower Street and began her
walk to the studios.

For more than a mile she trudged. Past
Columbia with its forbidding sign of XO
CASTING TODAY, past the rickety little
row of independent studios glimpsed along
Sunset Boulevard. The blocks stretched out
in an endless glare of pavement in the morning
sunshine.

At last she reached another studio, and
pausing to powder her nose and pull out a
hidden curl beneath her hat, she entered the
casting office of RKO.

"Nothing doing," the assistant said, looking
through and beyond her without even seeing
her.

"Could you arrange an interview for me with
the casting director?'' she begged.

"Come back in a few days." she was told.

She began the long walk back, her spirits a
bit dampened. At Sunset Boulevard she de-
cided to take a bus back to the city. Just as
she was about to step aboard one, a hand was
laid on her shoulder.

"Just a minute," said a voice.

JULIA whirled and confronted a middle-
man.

"Interested in pictures?" he asked.

"Y-yes, why yes," Julia answered.

"Guessed right, didn't I?" he grinned.
" Well, you look like a bet to me. sister. Come
on, got a job for you. I'm over here with the

production company," and he named

a company of which Julia had never heard.

Reluctant and yet fearful of missing even
a small opportunity, she followed him through
a dingy office, across a cluttered movie lot to
an outer office. He wrote down her name and
address and spoke of parts and salary and
promised to call her.

"Ever see a prop room?" he asked on the
way back across the lot. *' Come on, I'll show
you one."

"Oh, I've read a lot about prop rooms,"
Julia said, convinced now that everything was

e^iytoC^rioC cAyc

ayt^A

ARE FREDERICS PERMANENT WAVES

I'M SO SICK AND TIRED DF A MESSY
tOQKING COIFFURE... BUT I CAN'T
SEEM TO FINO A PLACE THAT KNOWS
HOW TO PERMANENT WAVE MY HAIR
PROPERLY. „^^fc )

THAT'S MY TROUBLE TOO. I'D GIVE
A LOT TO HAVE A BEAUTIFUL
WAVE LIKE YOURS.'

YOU CAN... 00 AS I DO. PATRONIZE AN
AUTHORIZED FREDERICS SHOP. THE
FREDERICS FRANCHISE CERTIFICATE IS YOUR
GUARANTEE OF PERMANENT PERFECTION.

"Every woman's hair can be
soft, lustrous, and wavy. Your
hair ran be lovely looking loo,
if you do as I do. Hare it per-
manently waved with Fred-
erics Vila Tonic Process."

DO VOL want to transform your

hair into a thrilling symphony of

"naturalh -curly" loveliness? Then follow the advice of
that beautiful and charming screen star. Helen \ inson . . .
Get a Frederics Permanent II are.

Screen stars know that nothing so adorns a woman as a
s\ mphony of soft, lustrous, undulating waves. That is why
they depend on Frederics Permanent ^ ayes to keep their
hair flawlessly beautiful, glamorous, and alluring.

But not all permanent waves are Frederics Permanent
V aves. To be sure of getting a Frederics Permanent \\ ave,
patronize an authorized Frederics shop. Look for the Fred-
erics Franchise Certificate which guarantees the use of a
Frederics machine. Fxamine all the Frederics wrappers used
on your hair . . . make sure no harmful imitations are used.
Ask your hairdresser for Frederics KREE Gift Receipt.

"Pre J

re denes

VITA-TONIC AND VITRON

SEE.-WE USE 0»LV 6CNUINE FREOtRICS

WRAPPERS. THERE IS OUR
FREDERICS FRANCHISE CERTIFICATE

HERE IS FREDERICS Gin RECEIPT
MAIL IT IN FOR A FREE
B0TT1E OF FREDERICS SHAMPOO

E. FREDERICS, Inc., 233-2 17 East 15th Street, New York, N.Y.Dept. 194

I Mease send me FltF.K booklet on Frederics Permanent Wa>ee — A FREE Frederics
\S rapper, and a list of the Authorized Frederics Per man en I Wavers in my neighborhood.

Ao/np Address

Citv State

I I 2

Overlooking
Central Park

RECOGNIZED LEADER
FROM COAST TO COAST

SAVOY- PLAZA ... a name that is
synonymous with luxurious living
. . . majestic and impressive with
the 840 acres of Central Park at
its doors ... a setting one hardly
hopes for in the towering city of
stone and steel. To the travelled
person, it is vivicly evident that
here, truly, is one of the world s
most distinguished hotels.

CELEBRITIES CHOOSE
THE SAVOY-PLAZA

From Hollywood come celebrities
of the motion picture world to
New York and the Savoy- Plaza.
This outstanding hotel has acted
as host to many of the best known
producers, executives and stars.

SINGLE ROOMS FROM $5
Henry A. Rost, Mdnagins Director

FIFTH AVENUE

58th to 59th STREETS, NEW YORK

Photoplay Magazine for June, 1934

all right, as she followed him into a dingy
room full of dusty objects. Suddenly the man
turned and put his arms about her. She
struggled in his grasp and finally succeeded in
freeing herself. Through blinding tears she
found her way back to the street and boarded
a bus for her hotel room.

Her first day in Hollywood was over.

Days of tramping the rounds of the studios
followed, with the same results. Her feet,
with the long weary walks and the heat of the
pavements, began to swell. It was necessary
for her to buy new shoes. And then a blister
developed which made walking a nightmare —
yet she had to keep on. Didn't dare stay
home a day with her money dwindling like
snow in the sun.

" You don't look classy enough," a girl
whom she'd met in a casting office frankly
told her. "Get yourself some Hollywood
clothes."

THREADING to spend the money and yet
■'""'afraid not to, Julia bought two new dresses
and a new hat. Her stockings ran and tore in
her endless walking. Once again she had to
buy larger shoes. The blister was a nagging
inferno, while lines of suffering, disappointment
and loneliness were etched on her face. A face
that had once had all the sweet freshness of a
girl of nineteen.

Julia began to see she'd have to move to
Hollywood in order to save time and money.
The street-care fare each day would easily pay
for her lunch. So, starting at one end of the
boulevard, she visited every house and apart-
ment that had a FOR KKNT sign, and finally
found a moderately priced room at a small
hotel.

Days of the weary rounds followed, with the
ever-rising fear in her heart to be stifled con-
stantly as her money rapidly dwindled. Twice
she'd written home for money, which had been
sent with such willingness that she. knowing
the unhappiness she must be causing her
family, couldn't bring herself to ask for more.

Once, when she inquired for the casting
office at one of the smaller, shabbier studios,
a kindly gray-haired man had taken her by the
arm and led her into his office. '"Look here,
young lady." he warned her, "don't you come
around these places with that innocent face
asking- for casting offices. I'm amazed that
you could lay yourself open to the vultures
that prowl about these places. Now go. And
don't ever come back."

Julia thanked him and lied.

She tried the famous Central Casting Offices
of Hollywood and they refused even to give her
■ in application blank.

"Please, please," she begged them.

"We can't take another application," they
told her. "We have more people now than
we'll ever need." And another door was
closed to her.

HTURNING from the casting office of War-
ners First National in Burbank. she came
face to face with a young man who smiled at
her kindly.

"Could you tell me if they have a music
department here?" she askerl him.

"Not open for casting." he told her. "Do
you play or sing? "

•• 1 sing," she said.

"Let me hear you."

Climbing into his yellow roadster parked
across from the studio, Julia sang "The Man
I Love." People drove by and, catching a
note of music, would glance back and shrug,
and drive on. unaware that a frightened young
girl was singing her heart out.

"You sing well," he told her when she had

finished. "I'm ." He was a popular

orchestra leader. "Here, take my card and
these addresses. They may help you. You
may even say you have sung with my orches-
tra."

She tried seeing the people he had suggested,
but even his name failed to open doors to
her.

Doors kept slamming in her face. Secre-
taries refused to let her by. There were too
many well-known singers in Hollywood to
bother with an amateur, they told her.

Frankie Bailey, famous old-time actress
stopping at the same hotel, took a kindly
interest in her.

"If Central Casting Office and studio casting
directors won't have you. why not try an
agent?" she suggested, and gave her an agent's
name and address.

He wasn't interested. He had too many
promising clients to look after. She was unable
to secure an agent in the entire town who was
willing to gamble his time and efforts on her.
Another door was firmly closed upon her.

And then a newspaper advertisement caught
her eye. Girls wanted to sing in a chorus.
Julia went immediately to the address and was
met by a sleepy-eyed young man. "Sure, we
need singers." he .said. "I'll take you out to
the director's house. Get in my car. Only,
you buy the gas, sister," he warned her. "and
— er — pay the expenses." The expenses, she
discovered, consisted of buying his lunch and
advancing him money for his dinner. This
had to be paid before he consented to take
her to the director.

"It'll cost you two dollars to enroll." they
told her, "but you'll get it back when you
start to work."

With trembling lingers she handed over the
two dollars.

"I will get it back, won't I?" she asked
them, unable to control the quivering of her
chin. "You see. I need it so badly."

They promised. She never heard from them,
of course. She returned to the address time
and again, but found the place locked and
deserted.

JULIA GRAHAM had been in Holly
•'exactly five weeks, when she found herself
down to her last fifty cents. Desperately, she
tried to find work of any kind. In drug-ston -
cafes, shops, everywhere.

She begged and pleaded for a chance to
wash dishes, do anything. Nothing open, she
was told.

There were too many girls like Julia Graham
after every little crumb of work that was
available.

Trudging back to her room, her last hope
gone. Julia, sheltered little girl from the little
town down South, felt then the full meaning
of the cruel, repellent coldness of the city;
there was even a chill foreboding in the
warmth of the sunshine. People in bright
sports clothes went gaily by. The gay flowers
on every corner mocked her. The voices oi
little children at play on the green lawns of the
bright stucco houses sent tiny quivers of pain
through her.

Almost blindly she wandered into a drug-
store and ordered a drink. Two men eyed her
from the other end of the counter. At last" one
arose and. walking over to her. said. "I don't
want to seem rude, but my friend and I have
been having an argument about you. Will
you help us?"

With weary eyes, Julia just looked at him.

"He >ays you're seventeen and I
eighteen. Now. which is right?"

"I'm nineteen," she told him in :i dull, tired
voice.

"Looking for a job?"
She merely nodded.

"Well say. that's line. 1 need a cashier for
my cafe. Come around tonight and see how

you like the place."

He handed her his card.

CHE found the place that night. A gay spot
'"'with music and dancing. Her acquaintance
of the afternoon came up to greet her. An
orchestra was strumming out familiar melo-
dies.

"Disappointed in my singer," said the
acquaintance. " She didn't show up. By any
chance, do you sing?''

A tiny ray of hope stirred in Julia's heart.

"I — why, a little," she said. "But right
now — "

Before she scarcely knew what was happen-
ing, she was standing in the middle of a dance
floor. It all seemed like some strange, fan-
tastic dream. Strange faces were peering at
her. Strange eyes looking through her. With
an effort she fought back wild sobs. The
orchestra was playing the prelude again. She
caught the melody and began. The number
was "You Ought To Be In Pictures." She
sang it through to the end and as the applause
died down, the manager approached her.

"That \vas swell, baby. You were great."

"Do I get the job as cashier?" she asked
him.

"Sure thing, honey. And er — the cottage
just behind my office goes with it. too."

"Do I— must I live in the cottage?-' she
asked.

He looked at her a full minute.

"Yes," he said, ''you live there."

"Could I — I mean, would you advance me
two dollars, please?" she asked him.

T_TE hesitated a moment. "I need some

■■■things," she explained.

"Okay. Here's the two dollars. See you
tomorrow night."

She left the place and caught a bus to the
boulevard. She was quite calm now. The
fear was gone. The pain in her heart was
stilled. She knew what she was going to do
now.

She stopped at the nearest drug-store and
bought a box of sleeping tablets and a bottle
of liquid sleeping potion. She walked down
Hollywood Boulevard with the packages
clutched in her hand. The lights twinkled and
gleamed. Gary Cooper drove by in his car.
She didn't care. She knew only one thing.

Alone in her room she wrote her mother.
'Goodbye, darling. I hate to do this, but I
hate life and I want to end it. I can't come
home now and face you and my friends again.
You understand, mother dear. Goodbye,
Julia."

She undressed, turned out the lights, and
hung on the outside of her door the sign

DO NOT DISTURB.

They found her next afternoon at four
o'clock.

The ambulance claimed and sirens shrieked.
bearing her unconscious form to the nearest
hospital.

"She hasn't a chance." the doctors said.
But they kept ritjht on working.

From Wednesday until Sunday she lay un-
conscious.

On Sunday evening, she opened her eyes.
Some friends who knew her back in her home-
town had read of Julia's tragedy in the papers
and were there beside her.

"Julia." they cried out to her, "get

Photoplay Magazine for June, 1934

l/Vcrlcu cadix

DorCt Miss a Single Issue of

Photoplay

containing the Fascinating Fiction Serial Story

"I Want A Baby"

Take advantage of the very special subscription offer
on Page 124, this issue, and the postman will deliver
Photoplay Magazine to you each month at a special
reduced rate.

ii4

Sta-Rite

RINGLET

CURL
PINS

Photoplay Magazine for. June, 1934

Please do." And they held up a letter for her
to see.

"Read it," she whispered.

It was from Earl Carroll, the famous theatri-
cal producer making a picture in Hollywood.

"Get well, Julia," he wrote. "If you are so
anxious for this kind of work, you shall have
it. See me as soon as you are better."

The next day he came to see her.

Today Julia is an extra on the Paramount

— Make Ordinary Bob Pins
Seem Needlessly Clumsy

Only an inch and a half long, they're the
tiniest, daintiest, most truly invisible pins
you've ever used. Beauty shops find them
indispensable for those soft curls and
flattering ringlets. You'll like their strong
snap and tight grip — and they are ric
enameled, of course, as are all Sta-Rite hair
pins. 10 cents at your favorite store in
black, brown, gold or silver color. Or send
10c for full size pack. Specify color desi'ed.

STA-RITE HAIR PIN CO., Shelbyville, 111.
Sta-Rite Hair Pin Co. of Canada, Limited
49 Wellington St.. \\\, Toronto, Canada

HAIRPINS
WAVE SET

WHISPERED

Great Complexion
Secret !

T"<0 her friend she coiv
■*■ fessed the secret of her
flawless clear white skin.
Long ago she learned that
no cosmetic would hide
blotches, pimples or sal-
lowness. She found the
secret of real complexion
beauty in NR Tablets
(Nature's Remedy) . They
cleansed and cleared the
eliminative tract— correct-
ed sluggish bowel action — drove out the poisonous
wastes. She felt better, too, full of pep, tingling with
vitality. Try this mild, safe, dependable, all-vegetable
corrective tonight. See your complexion improve, see
headaches, dullness vanish.
At all druggists' — only 25c.

CRprt New gold £ blue
met: ,934 Calendar-

1934 Calendar-
Thermometer — eampleB
NR ami Tump. Send
name, address, stamp to
A. H. LEWIS CO.

Desk HG-55
St. Louis. M

TONIGHT

ROW ALRIGHT

^Yuiws"0 jo&sfisi

NOW ONLY

for the
(f famous
^dollar bottle

Xow that DeWans
costs no more than
ordinary hair re-
movers, women
can enjoy the
mildness . . .
the skin-kind-
ness ... the
pleasantness
of a facial de-
pilatory., .on
their arms,
underarms
and legs. At
all drug and
department
stores , . . 50c.

De WANS

HAIR
REMOVER

lot, and, what's more, she is signed for
stock. But what a terrible price to pay for a
job, only Julia can tell. Day after day she
sits patiently on the Gracie Allen set, calm
and quiet, with a look in her eyes that will
never be erased.

And Julia doesn't complain at the weary
waits and long hours.

You see, Julia knows what it means to
have a job — in Hollywood.

Napoleon's Ghost Walks Out on Warners

[ CONTINUED FROM PAGE 51 ]

not entirely discouraged. Suddenly, they got
an idea that there was a marked resemblance
between the Emperor and Ernst Lubitsch, and
bigger and better conferences were called.

Everybody agreed that Lubitsch would
make a perfect Napoleon, and the meetings
became almost merry.

A letter was drafted to Lubitsch, a contract
was drawn up, and everyone congratulated
everyone else, when a wee, small voice in the
back of the room asked a question that
stunned the gathering.

'"What director in Hollywood could you
get to direct Lubitsch, and what director in
Hollywood could you get from whom Lubitsch
would take direction?''

CCORE two for Napoleon, who never in his
^long career, with the exception of Water-
loo, took an order from anyone.

Then the name of Charlie Chaplin entered
the collective Warner consciousness. It is an
open secret that the Little Emperor of Comedy
has always wanted to play the Little Emperor
of the World.

"Hooray!*' everybody shouted. "Chaplin's
just the person to play it. We'll get him."

And they did — in conference.

Certainly Chaplin wanted to play Napoleon.
He had always wanted to. Now was as good
a time as any.

He was permeated with the Napoleonic
traditions and characteristics, and nothing —
not even his own previous plans — could stand
in the way of Art.

But — the terms?

A sudden tenseness gripped the conference
room — and Charlie named his terms. Warners
fell in a dead faint, and Art tiptoed softly out
of the room, sighing dollar-ously.

The studio finally came to, and is now trying
to figure out whether it would be profitable
in the long run, what with the high value of
publicity, to pay Chaplin what he asked and
lose money on the picture, but gain a great
deal in prestige. The final decision is still
being bandied back and forth.

In the meantime, Richard Barthelmess is
prowling disconsolately around his own home
lot, biting his finger-nails and "completely
burned up," according to a friend, because he
has been utterly overlooked in the mad
scramble for a celluloid Napoleon. Barthel-
mess has always ached and plotted and prayed
to play this role.

Poor Napoleon! Biting his nails in for-
gotten exile!

We shall now proceed' to the Josephines.
There are only two, Napoleon having taken
up so much of the atmosphere.

Gloria Swanson was asked to play the role
of Josephine, but she refused on the grounds
that the part was too small. Perhaps Miss
Swanson is ignorant of the fact that only

recently a great deal more information has
been unearthed about Josephine. The First
Empress of the French people has always been
pictured to the world as more of a saint and
a martyr than a woman, the fault of her
grandson, Napoleon III, who adored her and
wished the world to worship her memory.

Josephine was really a most colorful, vivid
and electric personality, unbelievably ex-
travagant and sentimental. She spent thou-
sands for gowns that she never wore; millions
for jewels that she mislaid, and an incalculable
amount on her park at Malmaison, which she
cluttered up with priceless works of art and
animals of all kinds, including dogs, kangaroos,
deer, gazelles, a chamois, monkeys, sheep, and
birds of all kinds. Moreover, she was a most
remarkable and intriguing person.

Kay Francis is the other woman who was
approached with the part. She also refused it.

Emil Ludwig was brought out here at great
expense to write the story for the screen. He
worked furiously, and turned out a script that
was undoubtedly a literary masterpiece but
was just a case of indigestion to the screen,
accustomed as it is, to plain fare.

In a fine Ludwiggian huff he departed our
shores, completing the general bewilderment.

And Hollywood is remembering Napoleon's
classic remark:

"Rousseau made the Revolution. The
Revolution made me. It might have been bet-
ter for the world if neither of us had been
born." The Warners may be inclined to
agree.

Napoleon has cost Hollywood plenty, in
money, shattered nerves, disappointments and
heartaches. His career in Europe cost more
than two millions of lives, and it cost Great
Britain about four billion dollars to remove
him to Elba. It cost that country millions
more, "besides a hideous shock to the nervous
system of nations," as Lord Rosebery says,
to return him to France.

TUST what his activities cost Europe as a
^ whole will probably never be calculated, but
it was an enormous sum.

Warner Brothers' studio is curiously dumb
(and numb) about its future plans for
Napoleon.

The Little Emperor, so far, has licked them
in every skirmish.

The latest word to come from the fortress
is that the film has been "indefinitely" shelved.
But, apparently, none of the candidates for
the roles has been informed of this fact.

Robinson is still reading and waiting, no-
body having the courage to enlighten him;
Barthelmess is still waiting and hoping; Chaplin
is still waiting. And Lubitsch is still blissfully
unconscious of the whole affair.

Ah, Napoleon! Hollywood has its Water-
loo, too.

Photoplay Magazine for June, 1934

JI5

VOTE NOW

For Tlw Best Picture Of 1933

PHOTOPLAY Gold Medal balloting is on!
The votes are coming thick and fast. If
you have not already sent yours, do it
without further delay.

We want every member of the great motion
picture public to take part in selecting the
production to be added to the Photoplay
Honor Roll this year.

For your convenience, we have listed fifty
outstanding pictures of 1933. But you are not
limited to these. Any film released up to
December 31st is eligible. Pictures reviewed
in either our January or February 1934 issue
are qualified.

There are no rules to follow, no limitations.
In making your selection, simply consider
acting ability of the players, the story, the
photography, the direction and the spirit be-
hind the making of the film.

The medal, donated by Photoplay, is of
solid gold, weighing 1233^ pennyweights, and
is two and one-half inches in diameter. It
is designed by Tiffany and Company, New
York.

This annual award is the highest honor in
the movie world — the Nobel prize of the

Cinema. Moreover, it is the only award going
direct from the millions of movie-goers to the
makers of motion pictures.

On the contents page of this issue you will
find a list of previous winners. Make your
nomination worthy of stepping into the ranks
of these memorable screen dramas.

We believe that Photoplay readers have
come to deem voting for the best picture of
the year a special privilege, a sort of duty.
But don't misunderstand. It is not necessary
that you be a regular reader of the magazine.
We want everyone interested in the better-
ment of motion pictures to take part in award-
ing this prize of prizes — to spur the producers
on to even greater things for the coming year.

By signing the coupon below, or sending a
letter naming your choice, you will be perform-
ing a real service for the industry that gives us
all many pleasant hours.

Counting of the votes is a tremendous task,
and we should appreciate having all coupons
as soon as possible. So that you will not miss
out on the chance to voice your opinion, send
your ballot right now.

The polls close June 1st, 1934.

Fifty Outstanding Pictures Released in 1933

Adorable

Hold Your Man

Prizefighter and the Lady,

Another Language

I'm No Angel

The

Berkeley Square

King Kong

Reunion in Vienna

Blonde Bombshell, The

Lad\ for a Day

Roman Scandals

Bowery, The

Little Women

She Done Him Wrong

Cavalcade

Mama Loves Papa

Sign of the Cross

College Humor

Masquerader, The

State Fair

Counsellor-at-Law

Morning Glory, The

Sweepings

Dancing Lady

Night Flight

This Day and Age

Dinner at Eight

One Man's Journey

Today We Live

Double Harness

Only Yesterday

Too Much Harmony

Farewell to Arms, A

Paddy, the Next Best Thing Topaze

Footlight Parade

Peg o' My Heart

Tugboat Annie

42nd Street

Picture Snatcher

Turn Back the Clock

Gabriel Over the Whitt

', Pilgrimage

Voltaire

House

Power and the Glory, The

When Ladies Meet

Gold Diggers of 1933

Private Life of Henry VI II, White Sister, Tlte

The

Zoo in Budapest

Photoplay Medal

of Honor Ballot

Send

Editor Photoplay Magazine

221 W. 57th Street, New York City

In my opinion the picture named below is the

best motion picture production released in 1933.

This

NAME OF PICTURE

A(/irnf

Address

Ballot

Unkissed

Not that she's never kissed. But she no
longer wins the kind she wants. He seems
to kiss her hastily, gingerly . . .

The reason is, a man hates to kiss paint. Yet
he never even notices a lipstick like Tangee.
For Tangee colors your lips without painting
them. It intensifies your natural coloring and
becomes part of your lips, not a coating.
LOOKS ORANGE ACTS ROSE
Unlike ordinary lipsticks, Tangee isn't paint.
It changes color when applied. In the stick,
Tangee is orange. On your lips, it's your nat-
ural shade of rose ! So it cannot possibly make
you look painted. Its special cream-base soothes
and softens dry peeling lips. Goes on smoothly
and gives lips a satin-smooth sheen ! Get Tangee
UA, today— 39^ and $1.10 sizes. Also in
Theatrical, a deeper shade for profes-

s- sional use. (See coupon offer below.)

UNTOUCHED-Lips left un-
touched are apt to have a faded
look-make the face seem older.

PAINTED — Don't risk that
painted look. It's coarsening
and men don't like ic.

TANGEE— Intensifies natural
color, restores youthful appeal,
ends that painted look.

^tmMt**

Cheeks mustn't look painted,
either. So use Tangee Rouge.
Gives same natural colot as
the lipstick. Now in refillable
gun-metal case. Tangee Refills
save money.

World's Most Famous Lipstick \

IAN5TC

■ ENDS THAT PAINTED LOOK
I * 4-PIECE MIRACLE MAKE-UP SET B

THE GEORGE W. LUFT COMPANY «"&4 I
I 417 Fifth Avenue, New York City

Rush Miracle Make-Up Set of miniature Tangee 5
i Lipstick, Rouge Compact, Creme Rouge, ■
j Face Powder. I enclose in** (stamps or coin).

! Shade D F'esh □ Rachel □ Light Rachel j

Name

Address-
City

. State

1 16

CORNS

CALLOUSES-BUNIONS-SORE TOES

Photoplay Magazine for June, 1934

It takes but a minute
for Dr. Scholl's Zino-
pads to relieve these
foot troubles! These
soothing, healing, protective pads stop
the cause by lifting nagging shoe pressure
off the irritated nerves and soothe the
tissues. Result — no more pain, sore toes
or blisters from new or tight shoes.

Safely Remove Corns & Callouses

Dr. Scholl's Zino-pads quickly loosen and
remove corns and callouses when used
with the separate Medicated Disks in-
cluded for that purpose. Get a box at
your dealer's today. Sold everywhere.

DrScholls

Zino-pads

Put one on — the pain is gone!

**'

. 1

■

m>"*

♦I

•

ft:

r/i

- **m_

Old Town Boats

There are !>ijr all-wood, seaworthy craft for
the family. Open-deck boats for sportsmen.
Strong. Leak-proof. Reinforced to bear the
heaviest motor. Designed for speed and
comfort. Free catalog shows models and
prices. Also canoes, rowboats and dinghies.
Write today. Old Town Canoe Co., :>26
Main Street, Old Town, Maine. •

REMINGTON

If PORTABLE

A new Remington Port-
able. Carrying case free.
Use 10 days without
cost. If you keep it, pay
only 10c a day. Write.
Say: How can I get a
Remington Portable on 10-
free trial offer for only
10c a day. Remington Rand
, Dept. 4602, Buffalo, N. Y.

Perfumes

SUBTLE, fascinating, alluring. Sell
regularly for $12.00 an ounce. Made
from the essence of flowers:—

Three odors: Send only

(1) Romania

(2) Lily of the Valley

(3) Esprit de France

A sinole drop lasts
a week!

To pay for postage and handling
send only 30c (silver or stamps) for
3 trial bottles. Only one set to each
new customer. PAUL RJEGER,
249 First St., San Francisco, Calif.

30/

Her Face Was Her Misfortune

CONTINUED FROM PAGE 69

myself and sec if I had anything at all besides
a face.

''It will probably keep me from getting
a swelled head as long as I live."

At that time Edward Everett Horton was
starring in some plays in Los Angeles with
Florence Eldridge, Mrs. Fredric March. Mary
took a part in "Among the Married." She'll
never forget it.

" T COULDN'T believe my ears when I heard
x Eddie and Florence telling me, right to my
face, that I was an impossibly bad actress.
They spared no feelings but proceeded to light
right in.

"They even convinced me that I was a rotten
actress!

"I was 'too beautiful,' they said, conscious
of it, and too untutored in stagecraft for
words.

"Eddie set about to remedy that.

"He is a master at reading lines. I learned
more in those six weeks than I had in eight years
in pictures. Of course, neither Eddie nor I could
do much about being 'too beautiful,' but I
did manage to concentrate on something
else.

"For the first time in my life, instead of

'Mary Astor makes a beautiful heroine,' I
read in the reviews, 'Mary Astor handles her
part well.' What a difference — and what a
thrill!"

But coming back wasn't an easy matter of
simply learning to read lines.

Tragedy saw to that.

During the last week of her stage play,
Kenneth Hawks, Mary's director-husband,
whom she had married late in her silent
movie career, was killed in an airplane crash
while filming a picture.

Mary collapsed with a nervous breakdown.

Her confidence, badly weakened by her
professional disaster, and built up again slight-
ly by her stage experience, was annihilated.
Some weeks later, she tried to stage a come-
back in two pictures. She finished the parts,
but her condition was such that her per-
formances hurt her rather than helped her to
come back.

A/fONTHS passed again, months of idle-
ness and bewilderment, before Mary Astor
had her first chance for a blow at the beauty jinx.
It came in "Holiday," in which, as the mis-
understanding Julia, she played her first
part not based on her pretty face, the first

A movie bright light looks over some other luminaries. George Raft

watched the unloading of huge studio lights while on location in the San

Fernando Valley, during the filming of "The Trumpet Blows"

Photoplay Magazine for June, 1934

117

part in her life requiring more than more beauty.
Edward Everett Horton suggested her for

the part.

••Ton beautiful," demurred the executives.
"This girl has to do something."

Eddie finally persuaded them that Mary
Astor could "do something."

Hut "Holiday." great and popular picture
that it was. was the first big screen moment for
Ann Harding, and Man' Astor, doing her Brs1
hit of real acting, was lost in the shuffle of
Harding raves.

So for more months she just managed to
keep on the screen, cast here and there in
random parts, mostly small parts. No one
wanted to take her seriously, she was too
notoriously beautiful.

Not too beautiful, however, for Dr. Franklyn
Thorpe, the Hollywood physician who mar-
Tied her, and remains her husband and the
father of Mary's little daughter, Marylyn
Thorpe.

A/TARV ASTOR scoffs at the idea that
''•^■'•tragedy, marriage and motherhood have
helped make her an actress.

" It's a lot of nonsense," she thinks. " I've
just grown up, that's all."

For what is "growing up," but maturing?
And maturity comes from encountering just
the sort of vital things which life presents.
Mary Astor is only twenty-eight today (really
twenty-eight).

At any rate, her comeback since the baby
has revealed a very different person with very
different and enlarged capabilities.

The joy of her success has been dimmed by
the non-support suit tiled by her parents. Mr.
and Mrs. Otto L. Langhanke.

Mary, who has maintained that she sup-
ported her parents ever since she entered motion
pictures, and will continue to do so, maintains
that up to three years ago she had earned ap-
proximately $500,000. This sum is alleged to
have been swept away by her father's "wild-
cat investments" and by both her mother's and
father's extravagant mode of living. Mr. and
Mrs. Langhanke live in a $200,000 mansion at
Hollywood.

The mansion, according to Mary, cost ten
times as much as the Toluca Lake house in
which she and Dr. Thorpe reside witli their
twenty-two-months-old daughter.

However, the suit did not halt Mary Astor
in combatting her "beauty" label.

CINCE her role in "Red Dust," when she
^forgot about being a beauty to play a silly,
romance-crazed woman, up to "The World
Changes" (the tests for which won her her
Warners' comeback contract), where she defi-
nitely disguised the flawless features to play the
insane wife, she has done everything to dis-
courage a purely beauty appeal. And she has
cast her lot with her new-found, newly de-
veloped dramatic talent.

It's a versatile talent, too, as her comedy hit
in " Convention City" and her portrayal of the
light-headed sophisticate in "Easy to Love"
have proved beyond a doubt.

Mary Astor is still beautiful. Perhaps she
is even more beautiful than she ever was. But
it isn't the same kind of bare, empty, immobile
beauty, which has "jinxed" her for all these
years.

It's a new beauty, dimensioned by the depth
of life, experience, discouragement and a long
struggle back.

A beauty highlighted with ambition and
finished talent.

And that kind of beauty is never "too
beautiful" for Hollywood to take.

Q0L

T an arnazmti
difference

\l flavbelmae
does mate,

Stylists and beauty authorities
agree. An exciting, new world
of thrilling adventure awaits
eyes that are given the glamor-
ous allure of long, dark , lustrous
lashes . . . lashes that transform
eyes into brilliant pools of irre-
sistible fascination. And could
this perfectly obvious truth be
more aptly demonstrated than
by the picture at right?

But how can pale, scanty lashes
acquire this magic charm? Easily.
Maybelline will lend it to them
instantly. Just a touch of this
delightful cosmetic, swiftly ap-
plied with the dainty Maybelline
brush, and the amazing result is
achieved. Anyone can do it —
and with perfect safety if genuine
Maybelline is used.

Maybelline has been proved
utterly harmless throughout six-
teen years of daily use by mil-
lions of women. It is accepted
by the highest authorities. It
contains no dye, yet is perfectly
tearproof. And it is absolutely

non-smarting. For beauty's sake, and for safety's sake, obtain
genuine Maybelline in the new, ultra-smart gold and scarlet
metalcase at all reputable cosmetic dealers. Black Maybelline
for brunettes . . . Brown Maybelline for blondes. 75c.

UAYBKLL1NE CO.. CHICAGO

Ipprovea
SCAR

Only Peach Bloom on the
Blonde &&

BUT
TOO
BAD
ON THE BRUNETTE

DARK hair on face and arms doesn't get
by! Everyone .sees it. Men think it
undainty, unfeminine. Nature protects the
blonde. But the only completely satis-
factory protection the brunette has, is
Marchand's Golden Hair Wash.
Marchand's makes the unsightly hair pale
and UN NOTICEABLE. After "one or two
applications of Marchand's face and anus
become dainty and smooth. Marchand's
enables the brunette to do for herself what
nature has done for the blonde.
Takes only 20 minutes — avoids the dangers of shav-
ing— does not encourage coarse re-growth. Does not
irritate or harden tbe skin. Most economical.

Ask Your

Druggist

Get by

Mai!

C. MARCHAND CO

46c eni-!o-

«.( Mareband'B Golde

Name

. 251 W. 19th St.. N. V. C.

:, I'll i -i - i

. Iluix Wash.

eculax bo) tin

Address

P4B34

LOS ANGELES

TOWN
HOUSE

INVITES INQUIRIES FROM
THOSE PLANNING ATRIP
TO SOUTHERN CALIFORNIA

WERNER HARTMAN MANAGER

THE SMART HOTEL OF
SOUTHERN CALIFORNIA

Photoplay Magazine for June, 1934

"Here is the SECRET

says
MatofOUM

The Fan Club Corner

MOON GLOW

NAIL POLISH
beautifies Your Hands

If you paid $1 you couldn't get finer nail polish than Holly
wood's own MOON GLOW — the new favorite everywhere.
Ask your 10c store for the 10c siie or your drug store for the
25c size of MOON GLOW Nail Polish in all shades. If they
cannot supply you, mail the coupon today.

Moon Glow Cosmetic Co., Ltd., Hollywood, Calif.

Gentlemen: Please send me introductory package of Moon
Glow. I enclose 10c (coin or stamps) for each shaje
checked. ( ) Natural ( ) Medium ( ) Rose
( ) Platinum Pearl ( ) Carmine ( ) Coral.

Name

St. 6? No.
City

.State.

PA6

(feecomzTvputar

Tireless energy, sparkling eyes, laughing
lips, rosy cheeks bring success and popular-
ity. Free your system from poisons of consti-
pation, the cause of dull eyes, sallow cheeks,
dragging feet. For 20 years men and women
have taken Dr. Edwards Olive Tablets — a
substitute for calomel. Non-habit-forming.
They help to eliminate the poisons without
bad after-effect. A compound of vegetable
ingredients, known by their olive color.
They have given thousands glorious health.
Take nightly. At druggists, 15c, 30c and 60c.

DR. WALTER'S

Flesh Colored Gum Rubber Garments

LATEST BRASSIERE. 2 to 3 inch com-
pression at once. Gives a trim, youthful,
new style figure. Send bust measure. .$2.25
REDUCING GIRDLE. 2 to 3 inch com-
pression at once. Takes place of corset.
Beautifully made; very comfortable. Laced
at back, with 2 garters in front. Holds up
abdomen. Send waist and hip meas-
ures 53.75

Write for literature. Send check or

money order — no cash.

DR. JEANNE P. H.WALTER, 389 Fifth Ave.,N.T.

SO many letters have been pouring in upon
the Photoplay Association of Movie Fan
Clubs, asking for information about or-
ganizing clubs eligible to membership in the
Association, that this explanation of the
various types of clubs is given:

The two most popular types of fan clubs
belonging to the Association are: (1) Clubs
organized to sponsor a particular star, and
(2) Clubs which do not sponsor individual stars
but embrace all of them in general, their work
in films, the kind of films being shown in
theaters, and the movie industry in general.

The first type of club is organized by persons
particularly interested in the work and am-
bition of one favorite star. Personal per-
mission from the star must be obtained by
the organizers of such a club before it is
started. Many such clubs are already or-
ganized and are members of the Association.

The second type of club is much easier
organized. It may be directed along lines
embracing all movie matters in general. It
offers many topics for discussion and is the
ideal type of club where it is possible to hold
regular get-together sessions. Many such or-
ganizations are limited to local memberships,
others welcome corresponding members from
other parts of the country.

Both of the above types of clubs are eligible
to membership in the Photoplay Association
of Movie Fan Clubs. Further information
regarding joining or organizing a club can be
obtained by writing the Association's office,
919 N. Michigan Ave., Chicago, III.

rpHERE are now five branches of the "James
1 M. Fidler Fan Club." They are located
in Chicago, Denver, Omaha, Vineland, N. J.,
and Springfield, Mo. Mr. Fidler, honorary
president, says in a letter to the Association:
"I wish I might tell you of the enthusiasm and
loyalty of the hundreds of members. One
year ago, I was of the opinion that the world
was filled with rather selfish human beings.
The loyalty, faith and good fellowship of the
fans have brought me a new vision of
humanity."

The Barbara Stanwyck Buddies of Chicago,
recently celebrated the second anniversary of
their club with a tea. A good turn-out can
always be counted upon from members of this
wide-awake club. Bonnie Bergstrom, 6805 S.
Artesian Ave., Chicago, is president.

Jacqueline Lee, 53 Park Boulevard, Mal-
verne, N. Y., president of the Buddy Rogers
Club, sent in a copy of the new, improved
club news bulletin, "The Rogers Review." It
is fine! Congratulations.

James J. Earie, president of The Screen
Guild Club, writes that their membership is
growing rapidly since joining the Association.
All interested fans are invited to write him at
104 VV. River, Elyria, Ohio.

Hans Faxdahl, 1947 Broadway, New York
City, president of the Norma Shearer Club,
writes that the next number of their club news
will be dedicated to an honorary member of
their club, Dolores Del Rio.

Helen Moltz, Route 3, Sheboygan, Wis., an-
nounces that the Joel McCrea Fan Club, of
which she is president, has two new honorary
members. They are Ruth Etting and Charley
Agnew.

Lew Ayres fans are invited to write to
Miss Helen Raether, 311 S. Mingo Street,

Albion, Mich., for more information on this
club.

Donato R. Cedrone, president of the Tom
Brown Fan Club, writes that his club is plan-
ning a new, up-to-the-minute list of members,
and wants interested fans to communicate
with him at 288 Nevada St., Newtonville,
Mass.

ATANY clubs have made inquiries about the
National Convention of Fan Clubs to be
held in Chicago again this year. Here is good
news for all those club members who have
been anxiously awaiting the event. The 1934
convention, sponsored by the Movie Club
Guild, an organization composed of Chicago
members of nine different fan clubs, members
of the Photoplay Association of Movie Fan
Clubs, will be held August 11-12-13. Since
the Century of Progress for 1934 will be an-
other attraction in Chicago at that time for fan
club members, a great turn-out is expected.

Miss Lenore Heidorn, 5737 S. Artesian St.,
Chicago, president of the Billie Dove Fan
Club, is secretary of the Guild, in charge.
Club executives may write her for further in-
formation. More details regarding this con-
vention will also appear in our "Fan Club
Corner." The Guild has recently brought out
the first issue of their new club bulletin. It is
called "The Audience." It is attractively illus-
trated with photographs of various stars spon-
sored and club officers and members.

Helen Moltz, Sheboygan, Wis.,

president of the Joel McCrea Fan

Club, meets McCrea on the lot in

Hollywood

Anna Glance, president of the Jackie Cooper
Fan Club, 7953 Merrill Ave., Chicago, advises
that their club now has a western representa-
tive. The new official is Budd Bankson, 3414
Milton, Spokane, Wash. Those interested in
the Jackie Cooper Club arc invited to write
either Miss Glance or Mr. Bankson.

Blanche Inscho, 214 Clinton Street, Findlay,
Ohio, is president of the Elissa Landi Fan Club.
Write her for information about this club.

Photoplay Magazine for Junk. lu;4

l I

Brief Reviews of Current Pictures

[( . ■ ■ i l\i ED FROM PAGE 16 ]

NO FUNNY BUSINESS Ferrom Prod. -British
comedy about an agencj which effects marital
reconciliations. And funny is the word! Gertrude
nee and fine support. (May)

NO GREATER GLORY— Columbia.— George
Breakston heads a grand cast in this tale of the
Paul Street Hoys who go through the military pro-
cedure of a regular army to protect their playground
from rival group. See it. (May)

NO MORE WOMEN Paramount.— Victor Mc-
I aglen and Edmund Lowe teamed again for some
rowdy entertainment, with a grand battle over Sally
Blane, owner..! ., salvage ship. : [pril)

OLSEN'S BIG MOMENT— Fox— El Brendel is

not only a janitor, but a matchmaker and a caretaker
tor an intoxicated bridegroom. Plenty of laughs.
Walter Catlett and Barbara Weeks. (Jan.)

ONCE TO EVERY WOMAN -Columbia.— One

day in a big hospital. Drama, ami romance with Fay
W ray and Ralph Bellamy. Walter Connolly and
support fine. Skilfully directed. (April)

• ONLY YESTERDAY— Universal.— It's a hit
for Margaret Sullavan in the role of a girl who
kept the secret of her unwise love from her lover,
lohn Boles, for many years. Splendid direction.
(Jan.)

ORIENT EXPRESS— Fox.— Norman Foster.
Heather Angel and Ralph Morgan become involved
with several other passengers while traveling on the
Continental Express. Fair. (March)

PALOOKA— Reliance-United Artists.— All about
a country lad. Stuart Erwin. becoming a prize-fighter.
Jimmy Durante. LupeVelez, Marjorie Rambe.au and
Robert Armstrong. Grand fun throughout. (March)

PICTURE BRIDES— Allied.— Scarlet sisters,
diamond miners, and not much else. (Dec.)

POLICE CAR 17— Columbia.— Tim McCoy, in a
radio squad car, chases a crook, and winds up in
marriage with Evalyn Knapp, daughter of the police
lieutenant. Just so-so. (Jan.)

POOR RICH, THE— Universal.— Edna May
Oliver and Edward Everett Horton put on a grand
show when unexpected guests, who do not know their
hosts have lo-t their wealth, arrive. Excellent sup-
porting cast. Lots of laughs. (March)

POPPIV THE CORK — Fox-Educational. —
Milton Berle in a three reeler with the "repeal" angle.
Two good song- and some effective dance ensembles

(Ma,,

• PRIVATE LIFE OF HENRY VIII, THE—
London Film-United Artists. — Charles Laugh-
tor superb and also gorgeously funny as the royal
Bluebeard; photography is inspired. (Dec.)

• PRIZEFIGHTER AND THE LADY, THE
— M-G-M. — With Myrna Loy to make love to,
and Camera to tight. Max Baer is the hero of one of
the best ring pictures yet made. He'll challenge any
lady-killer now. (Jan.)

OUATORZE JUILLET ("JULY 14")— Protex

Pictures. — A taxi driver and a girl enjoy the French

national holiday together. The comedy can be better

dated by those who know French. Fair. (Jan.)

• Ol'EEN CHRISTINA — M-G-M. —As
Sweden's Queen Christina, Garbo makes a
magnificent appearance with John (Gilbert, who does
fine work in his screen comeback. Splendid support
by Cora Sue Collins, Lewis Stone, Ian Keith, and
Reginald Owen. (March)

REGISTERED NURSE — Warners. — Romance,
tragedy, humor within the walls of a hospital. Nurse

Bebe Daniels the object of Lyle Talbot's and John
Halliday's admiration. Interesting plot details.

May

• RIGHT TO ROMANCE. THE— RICO.
Radio. — Ann Harding, a plastic surgeon, tired
of success and eager for lo%-e and adventure, marries
playboy Robert Voting, while constant doctor ad-
mirer Nils Asther patiently await- the outcome.
Sophisticated. (Feb.)

• RIPTIDE — M-G-M. — Tense drama, with
Norma Shearer vivid and compelling as the
wife, and Herbert Marshall giving a flawless per-
formance as the jealous husband. Robert Mont-
gomery and good support. Direction excellent.
- May)

• ROMAN SCANDALS Samuel Goldwyn-
United Artists. Quite different from the
ordinary musical. With Eddie Cantor and a bevy

of beauties; Ruth Etting of radio lame; -..in. lavish

dance ensembles, and a chariot race that's thrilling
to til. finish. (Feb.)

SAGEBRUSH TRAIL— Monogram.— An average
Western with the usual bad h ombres and rough
riding, and Join. Wayne as the hero. Good photog-
raphy, (March)

SATURDAY'S MILLIONS— Universal.— Foot-
ball her.. Robert Young thinks the game a racket, but
finds it isn't. Bright and fast. (Dec.)

SEARCH FOR BEAUTY, THE— Paramount.—

The result of Paramount's world-wide beauty con-
test. Featuring Ida Lupino, Buster Crabbe, Robert
Armstrong and James Gleason. Amusing. (March)

SHADOWS OF SING SING— Columbia— Fairly
enteitaining story about Detective Grant Mitchell's
setting a trap for real murderer of Mary Brian's
gangster brother, to clear son Bruce Cabot of chai gl
(May)

SHE MADE HER BED— Paramount.— A gaj
merry-go-round of events — a tiger loose, a big fire, and
baby Richard Arlen, Jr. in the ice-box — create an
exciting finis. Sally Filers, Richard Arlen. Robert
Armstrong. (HJay)

SHOULD LADIES BEHAVE?— M-G-M.- (Re-
viewed under title "The Vinegar Tree.") — Mary
Carlisle won't listen to reason when her parents. Alice
Brady and Lionel Barrymore, try to keep her from
marrying suave Conway Tcarle. Amusing. I Jan.)

SHOW-OFF, THE— M-G-M.— Spencer Tracy
handles role as show-off with skill. Madge Evans
does w.ll as his patient wife. Clara Blandick, Lois
Wilson, good support. Amusing. (May)

SING AND LIKE IT— RKO-Radio.— A devastat-
ing mirthquake. Soft-hearted gangster Nat Pendle-
ton makes ZaSu Pitts a stage hit to distraction of
Producer Edward Everett Horton and jealous' Pert
Kelton. Ned Sparks. (May)

SIN OF NORA MORAN, THE— Majestic Pic-
tures.— The tragic story of a girl (Zita Johann! who
dies in the electric chair to save her lover. Alan
Dinehart, Paul Cavanagh, John Miljan. Verj de-
pressing. (March)

SITTING PRETTY— Paramount.— Five popular
songs do much for this musical. Song writers Jack
Oakie and Jack Haley meet Ginger Roger- a- they
hitch-hike to Hollywood. Entire cast splendid.
Fan dance finale at end, effective. (Fi I'.)

• SIX OF A KIND— Paramount.— This is .,
howl. Charlie Ruggles, Mary Boland. W. C.
Fields, Alison Skipworth, George Burns and Gracie
Allen are six of a kind — ace comedians. If you cravi
action, stop here. (April)

SIXTEEN FATHOMS DEEP— Monogram.—

Against the villainous opposition of Georgi Rigas,
freight on Chaney succeeds in bringing in his sponges,
and winning Sally O'Neil. Fair. (April)

SLEEPERS EAST— Fox.— Wynne Gibson is tin-
only bright spot in a dull yarn. Entire cast, including
Preston Foster, tries hard, but plot is weak. (April)

SMOKY— Fox.— The life story of Will James'
wild colt "Smoky," from colthood to "old
Victor Jory turns in a good performance as bronc-
buster. (Feb.)

SON OF A SAILOR— First National.— Joe E.

Brown has a weakness lor gold braid and pretty girls
including Thelma Todd. Good, clean Inn. (Jan.)

SON OF KONG, THE— RKO-Radio.— Helen

Mack and Robert Armstrong find the twelve-foot
offspring of fifty-foot King Konq much more friendly

than was hi- father. Fine photography. (March)

SONS OF THE DESERT— Hal Roach-M-G-M.

— Lodge members Laurel and Hardy have a gaj time
trying to escape wives Dorothy Christy and Mae
Bnsch so they may attend the annual convention.
And they do. See this. (March)

S. O. S. ICEBERG— Universal.— Thrilling and
chilling adventure adrift on an iceberg; marvelous
rescue fixing. (Dec.)

SPECIAL INVESTIGATOR — Universal. —
Onslow Steven- and Wynne Gibson are rounded up
as murder suspects. When things look darkest,
Wynni saves the day. Too mystifying to be easily
followed. (Jan.)

e9~0

)

A FOUR STAR HIT

^ DELICIOUS — quality chewing
gum in a crisp candy coating. So
good that everybody loves them.

k Flavorful — choose your

favorite Tempters from Pepper-
mint, Spearmint, Licorice, Cinna-
mon, or Tutti-Frutti. Try one of
each. You'll like them all.

^ COLORFUL — a different and
tempting color for every spark-
ling flavor.

IT FRESH — the candy coating
seals the flavor in till your first
exciting taste.

~k ir ~k ~k Four Tempters in a transpar-
ent pack. Three packs for five cents.
Five flavors to choose from. And you'll
want them every day.

^H^Hw^

I 20

DELUXE FACE POWDER

Stop for a moment and tliink of a fine
powder sifted through silk. There you
have Deltah! And there yon have the su-
preme fare powder that gives you allur-
ing and fascinating charm.

Until now found only in a smart shop
here and there. Now in the hetter Drug
and Department stores everywhere. Try
Deltah and vou will ne\ er again be in
doubt when selecting your face powder.

It is a goldeu box. of fascinating beauty !

The HELLER -DELTAH CO., Inc.

a West 30th Street, New A ork City

If not at your Druggist send u.h hi* name ttnti sl.Oit
and we trill forward a full size Golden box p<tsl paid.

Freckles

Secretly and Quickly Removed!

VOU can banish those annoying,
■*■ embarrassing freckles quickly and
surely in the privacy of your own
room. Your friends will wonder how
you did it. Stillman's Freckle Cream
removes them while you sleep, rnc
Leaves theskinsoft and smooth, Ov
thecomplexionfreshanddear. AJar

Stillman

F !L^.£JL!L^SJiJL^ ]

Malt this Coupon to Box 81
THE STILLMAN CO., Aurora, II
Ut) TC Q Booklet on Free
T IvDC □ Sample Face Powde

,Name

k Address

Photoplay Magazine for June, 1934

SPEED WINGS— Columbia.— Tim McCoy has!
his u^ual difficulties, this time in winning the air |
speed championship. William Bakewell, Evalyn
Knapp. Plenty of thrills. (May)

• SPITFIRE— RKO-Radio.— If you like char-
acter studies at all. this splendid one of Kath-
arine Hepburn as a Kentucky mountain girl should
appeal. Ralph Bellamy, Robert Young. [April)

STAGE MOTHER— M-G-M.— Alice Brady and
Maureen O'Sullivan in an "ambitious mother and
suppressed daughter" tale; Alice Brady's great work
keeps it from being boring. (Dec.)

STRAIGHTAWAY — Columbia. — Lively mo-
ments for auto racing enthusiasts, witli brothers Tim
McCoy and William Bakewell as ace drivers. Sue
Carol provides love interest. [April*

STR WVBERRY ROAN— lnirersal— Ken May-
nard and Ruth Hall good; but the horses are so fine,
humans weren't needed. An exceptional Western.
(Dec.)

SUCCESS AT ANY PRICE— RKO-Radio —

Story material so poor that in spite of Douglas
Fairbanks, Jr.'s fine work, and efforts of Colleen
Moore, Genevieve Tobin, Frank Morgan, Nydia West
man, film just doesn't click. (May)

SWEETHEART OF SIGMA CHI. THE— Mono-
gram.— Buster ( rahbe and Mary Carlisle ornament
an otherwise so-so tale of college life-, (the.)

TAKE A CHANCE — Paramount. — Tent-show
i Tunk- James Dunn and Cliff Edwards try to build
up June Knight for Broadway. Lilian Bond and
Buddy Rogers. Excellent musical numbers. (Jan.)

TAKE THE STAND— Liberty.— Columnist Jack
LaRue is murdered while broadcasting in locked
room. Several persons have motive. But who did
it? Good cast includes Thelma Todd, Leslie Fen-
ton, Vince Barnett. (May)

• THIS MAN IS MINE — RKO-Radio. —
Society comedy-drama. Irene Dunne. Ralph
Bellamy, Constance ( ummings form interesting
triangle. Sparkling dialogue. Kay Johnson deserves
honors. (May)

THIS SIDE OF HEAVEN— M-G-M— A realistic
tali — one luetic day in the life of the Turner family.
Lionel Barrymore, Fay Bainter and children emerge
no worse for the wear. (April)

TTLLIE AND GUS— Paramount.— Even W. C.
Fields and Alison Skipworth couldn't make much of
this would-be comedy. (D

TO THE LAST MAN— Paramount. — Randolph
Scott and Esther Ralston, as representatives of
lending ex-Kentucky families, lend welcome plot
variety to- this good Western. (Dec.)

TWO ALONE— RKO-Radio— A dull farm tale,
featuring Jean Parker asj the enslaved orphan and
Tom Brown, the boy she loves, also bound to farm
drudgery by Arthur Byron. ZaSu Pitts and Nydia
vVestman. (March)

• VIVA VILLA!— M-G-M.— Action galore i„
this tine portrayal of the colorful life of Villa,
Mexico's barbarous bandit, by Wallace Beery. Good
work by Henry B. Walthall. (April)

WALLS OF GOLD— Fox.— Sally Filers, others,
wander dully through a dull tale about marrying for
money after a lovers' falling out. (Dec.)

WALTZ TIME — Gaumont-British. — Charming
music helps a dull, draggy story. (Dec.)

WAY TO LOVE, THE— Paramount.— Maurice
Chevalier wants to be a Paris guide, but finds himself
sheltering gypsy Ann Dvorak in his roof-top home.
Plenty of fun then. (Dec.)

WHARF ANGEL — Paramount. — Good theme
that didn't jell. Yarn about hard guy Victor lie-
Laglen selling out Preston Foster and finally making
noble sacrifice to redeem himself. Dorothy Dell is
the girl. Alison Skipworth. (Ma:

WHEELS OF DESTINY— Universal— Plenty of
action, with Indian tights, buffalo stampedes, prairie
tires and a terrific rainstorm, to say nothing of Ken
Maynard and his horse, Tarzan. Children will be
thrilled. (Ma

CELEBRITIES

CHOOSE

ne SENECA

while in Chicago . . .

because at the SENECA they
are assured of those little ex-
tras in service .... luxuri-
ous yet comfortable quarters
and good food.

During your next visit to
Chicago we invite you to see
why people who know choose
THE SENECA. 10 minutes to
the heart of Chicago. Perma-
nent .... Transient.

200 EAST CHESTNUT ST.
CHICAGO, ILLINOIS

5 Wave Bands— 9 to 2000 Meters

Engineered to get stations at least in, nun
mile-; away. The I'AIIAMOUNT ruts
through the air to PAHIS, ROME, MO-
R0CCO, AUSTRALIA. BUENOS AIRES
EVERTWHEKE. Gets livid, police in all
cities, amateurs, airplanes, snips at
sea, every U. S. station.

ACCEPT 30- DAY TRIAL OFFER

Send for Catalog No. 14. Study the

most amazing radio ever produced,

wad ir> at new improved features.

Introductory offer — limited. ACT

TERMS

AS LOW AS
A BfOO

• DOWN

QUirK

PARAMOUNT RADIO
LABORATORIES

'.HI SO. I'.l Iwav

Los Angeles, Calif.

$5950

U.S.GOVERHMENTJOBS

Start $1260 to $2100 a year

MEN —WOMEN 18 to 50. Com-
mon Education usually sufflt ient.
Many early examinations ex-
pected. Write immediately (or free
32-page book, with list of posi-
tions and full particulars telling
how to get them.

FRANKLIN INSTITUTE

Dept. D 196 Rochester. N.Y.

The Old Reliable Exterminator

Used the World over for many generations to
kill rats, mice and noxious animals. A sure
way to do away with dangerous pests. Safe
to handle. Sold by general stores and drug-
gists. 25c, 50c a box.
Manufactured by E. S. WELLS, Chemist

WHITE WOMAN— Paramount.— Charles Laugh-
ton, ruler of African jungle kingdom, discovers that
Carole Lombard, cast-off , whom hi is sheltering, has
in love with Kent Taylor. And « hat blood-
curdling horror follows! (Jan.)

WILD BOYS OF THE ROAD — First National.—
A well-done story of youngsters who turned hoboes
|i pi :ssion.

WINE. WOMEN VND SONG — Monogram.— To

r iMari. nil- Moore), in love with
dance dire. tor Many Kemp, from clutches o)
Lrical operator Lew Cody, Lilyan Tashman
poisons Lew and h< r-, It. Nothing new here.

WOMAN'S MAN, A — Monogram. — In her screen

comeback, Marguerite De La Motto causes prize-

\ ill ice lord some concern as to his career.

But she set:- things right again after the big fight.

Fair. (March)

WOMAN INAFRAID— Goldsmith Prod.— Suffi-
cient suspense in this tale of female detective Lucille
Gleason, who defies perils of gangdom. Lona Andre,
"Skeets" Gallagher. (April)

WOMAN WHO DARED. THE— Wm. Berke
1'n.d. — Assisted by reporter Monroe Owsley,
Claudia Dell manages to outwit gangsters who
threaten to bomb her textile plant. Good cast; fail
story. Feb.)

Photoplay Magazine for June, 1934

WOMEN IN HIS LIFE, THE M-G-M.-A very
melodramatic tale about ■< law yet (< >tto Ki uger) who
finds himself in the ...Id position ..t defending the
man who has murdered the woman he (Kruger)
l.ued. Una Merkel, Roscoe Karns provide comedy
relief. Ben Lyon is young love interest. (.Feb,)

• WONDER BAR— First National.— Al Jolson,
Dick I'..well. Dolores Del Rio and Ricardo
Cortez furnish gay, sophistical d entertainment at

th. Wonder Bar Cite. And Kay Francis does w el)
with a small role. (April)

• WORLD CHANGES, THE— First National.
— Paul Muni splendid in the life story of a
D.n.ota farm boy who amasses a fortune in the meat
on king industry, but is ruined by greedy snobbish
relatives. I Dei .

WORST WOMAN IN PARIS?, THE— Fox —

Adolphe Moni..u. Benita Hume. Harvey Stephens, in

a mild tale about a misunderstood woman. (Dec.)

YOU CAN'T BUY EVERYTHING— M-G-M —
Excellent eh iracterization by May Robson as schem-
ing old woman who has devoted her life to pursuit of
gold. William Bake well, Lewis Stone, Jean Parker
do tine work. (April)

YOU MADE ME LOVE ^ OU— Majestic Pictures.
— In this swift-paced English farce we see a new
Theltna Todd. The "Taming of the Shrew" idea,
with Stanley Lupino adding much to the film, deb.)

121

The Shadow Stage

The National Guide to Motion Picture-

(REO. U. S. I'll. OFF.)

CONTINUED t'RiiM PAG] .^/

,4 MODERN HERO— Warners

•"PHIS slow-moving talc takes Richard Barth-
elmess from the circus to high finance.
With exception of Jean Muir, mother of his
son, 'William Janney, the women in his life all
serve merely as stepping stones to success.
Acting is quite awkward and jerky in spots.
But, as Dick's circus-performer mother,
Marjorie flambeau is perfect.

ARIANE—Pathe-Cinema Prod.

PLIZAfiF.TH BERGNER, star of the cur-
rent "Catherine the Great," is presented in
an intriguing, romantic, though not very pre-
tentious film. Foreign made, but with English
dialogue. As the innocent Russian girl fasci-
nated, while studying in Paris, by the worldly-
wise Percy Marmont, Elizabeth does a superb
acting job. Photography fair.

VOICE IN THE NIGHT— Columbia

'"TIM McCOY is just too heroic and the bad
men are the worst old meanies, in this
melodramatic telephone-construction story.
The independent company battles to survive
against the big-shot chisellers. Thrills, sus-
pense, chases and a fight in a cable-car over a
chasm. Then, for good measure, the company
president's pretty daughter is kidnapped!

CITY LIMITS— Monogram

TTHIS little picture is highly entertaining
even if the story is about the newshound
'Ray Walker) who gets the inevitable scoop
through a scrap between two big tape and
traction men for control of a railroad. Frank
Craven. James Burke and James Conlin as a
trio of tramps are amusing. Sally Blane.

CROSS STREETS— Chesterfield

TT'S a sad story, mates. Johnny Mack Brown,

jilted by Claire Windsor, goes down and down

until the soul within him dies at the bottom of

■•'Ic. He sacrifices bis chance to become

a famous surgeon in a post-mortem blaze of
drama, and then the final tragedy overtakes
him. Anita Louise fine; everything else line
five years ago.

NO RANSOM— Liberty

D OBERT McWADE is a discouraged mil-
lionaire whose family doesn't appreciate
him. So he pays gangster Jack LaRue to
bump him off. But Jack reforms the family in-
stead by kidnapping the old gent and letting
the family worry a while. Leila Hyams is the
daughter, Hedda Hopper the mother. Carl
Miller, Thillips Holmes, Vince Harnett, Eddie
Nugent, Christian Rub.

MANH.4Tr.4N LOVE SONG—
Monogram

A GAILY amusing light comedy, hindered
*• somewhat by the antiquated plot of a
wealthy girl (Dixie Lee) losing all her money
and falling in love with her chauffeur (Robert
Armstrong). Lively dialogue. A good cast
includes Franklin Pangborn, Nydia Westman,
Helen Flint, and Cecile Cunningham.

HIRED WIFE— Pinnacle Prod.

'"THE story of a girl (Greta Nissen) who
agrees to marry for one year and then step
out of her husband's (Weldon Heyburn) life
for another woman. Dialogue and direction
are so faulty as to cause merriment where none
is intended. The entire cast, which includes
James Kirkwood and Molly O'Day, light
gamely to make up for the film's grave faults.

THE QUITTER— Chesterfield

"DRETTY dull entertainment in this story of
the Tilford family, publishers of a small-
town newspaper. The film wends its way
placidly on to conclusion — nothing gained,
nothing lost. Title applies to the father
("Charley Grapewin) afflicted with wanderlust.
Mother Emma Dunn and son William Bake-
well carry bravely on through the years.

MADGE MAKES A
GREAT DISCOVERY
ABOUT GRAY HAIR

"My gray hair? Sure it's gone, Madge —
and for good] I've found the one ideal
way to keep my hair looking young and
lustrous. Here's all anyone has to do."

-AND HERE'S WHAT
MARY TOLD MADGE

J Just empty one ol
the capsules of Mary
T. Goldman'-, ponder
into a water glass.

O Pour a little Mary
^ T. Goldman's cleat

liquid o\er the pow-
dci And mix the two.

2 Then comb tile liquid through the hair and
** just let it dry. Alter one or two applications
the gray will be tsonc. Simple. Easy. Quick.

Lke arcvclation, news of the wonderful sim-
plicity and safety of Mary T. Goldman's
new, improved method is spreading among
women who want freedom from gray. Without
risking a thing, you, too, can disco\ er the way
to bring youthful color to gray hair. MAIL
THE COUPON and we'll send, FREE, Mary T.
Goldman's famous Single Lock Test. See with
your own eyes how Mary T. Goldman's warm
lustrous color will match your
own natural shaJe — how easy
it is to use. Leaves the hair
soft and natural-looking —
I '. easy to curl or wave. Pro-

4 \i y nounced harmless to hair and
> / scalp by medical authorities.
Your druggist has the full-
v. ''*4s« i. A-' size bottle with money-back-
-V"*"v7 guarantee. FOR FREE TEST,
/ MAIL COUPON.

~**X^7 THE NEW IMPROVED JJ .

ffutfvu /. Uoccforuwi-

COLOR fORgCRAY HAIR

FOR FREE TEST PACKAGE

Mary T. Goldman,2470 Goldman BUg., St. Paul, Minn.

Name

Street

City St ;ti_.

• CHECK COLOR OF HA7R /
□ Black □ Medium Brown □ Auburn

Q Dark Brown Q Light Brown (J Blonde

I 22

obtainable, write
UNUFACTURING CO.. SAN DIEGO CALIFORNIA

Remove Superfluous Hair

AjMvetTtlMen

91 Leaves the skin like velvet

35c, 3 for $I.OO

] If your dealer does not ha>

Velvet Mittens, order fro...

VELVET MITTEN COMPANY

1037 S. Los Angeles St., Los Angeles, Calif.

Be an ARTIST

Photoplay Magazine tor June, 1934

Casts of Current Photoplays

Complete for every picture reviewed in this issue

BIG EARNINGS/ WOMEN!

Qt BLANCHE WHITE

\Show uou how io make ^

CANVASSING

Make up to $5 to *10 a day wit] roy sensational, .rieinal plan oi taking

orders for my funi.tu* cosinetirs. ripare tinn or full time No ••xperience
required. I show you how. Highly pleaaanl and dignified. Hundreds

king big, [i-T ru .I,, l i r incomes with my amazing methods. Write

for details and amazing success stories.

MADAMEWHITECOSMETiCS. 2530 NicollelAve.. Minneapolis, Minn.

SENSATIONAL OFFER
MOVIE STAR RAIN CAPES

All colors and si7e->— Wind and Rain Proof.
Millions sold at the World's Fairl Only 99c;
also 3-piece child set — 99c. Cash with order.

Service Qo., 331 W. Jackson Blvd., Chicago, III.

Make up to $50 to $200 a Week! Our simple,

proven methods make it ea.y to lean. Commercial Art
and Cart.oonine q.iiokly. AT HOME, in spare time. Bib
• ,ew book, "ART lor Pleasure and Profit' eent free. /,
state ace. WASHINGTON SCHOOL OF ART.

Studio 156. H15.1Stti St., N. W., Washington, I

"ALL MEN ARE ENEMIES"— Fox.— From the
story by Richard Aldington. Screen play by Samuel
Hoffenstein and Lenore Coffee. Directed by George
Fitzmaurice. The cast: Tony, Hugh Williams;
Hatha, Helen Twelvetrees; Margaret, Mona Barrie;
Noggins, Herbert Mundin; Clarendon, Halliwell
Hobbes; Filpmena, Rafaela Ottiano; Annie, Una
O'Connor; Walter, Walter Byron; Scropes, Henry
Stephenson; Sir Charles, David Torrence; Allerlon,
Matt Moore; Mama, Mathilde Comont.

"ARIANE" — Pathe-Cinema Prod. — From the
novel by Claude Anet. Directed by Dr. Paul Czin-
ner. The cast: Ariane, Elizabeth Bergner; Anthony,
Percy Marmont; Ariane's Aunt, Edna Vaughan;
Olga, Ilsa Matheson; The Baroness, Diana Ross; The
Doctor, Warwick Ward.

"BORN TO BE BAD"— 20th Century-United
Artists. — From the novel by Ralph Graves. Con-
tinuity by Harrison Jacobs. Directed by Lowell
Sherman. The cast: Letly Strong, Loretta Young;
Malcolm Trevor, Cary Grant; Mickey, Jackie Kelk;
Fuzzy, Henry Travers; Max Leiber, Andrew Tombes;
Doctor Dropsy, Howard Lang; Adolph, Harry Green;
Alyce. Trevor, Marion Burns; Lawyer, Paul Harvey;
Butler, Charles Coleman; Truant Officer, Matt Briggs;
Miss Crawford, Geneva Mitchell; Sieve Karns, Rus-
sell Hopton.

"CITY LIMITS"— Monogram.— From the story
by George Waggner. Directed by William Nigh.
The cast: J. B. Matthews, Frank Craven; Helen
Matthews, Sally Blane; Jimmy Dugan, Ray Walker;
Oliver, Claude Gillingwater; King, James Burke;
Nap, James Conlin; Aunt Martha, Jane Keckley;
Macy, Henry Roquemore; Dr. Stafford, Harry Brad-
ley; Carter, George Hayes; Graflex, George Cleveland;
Jones, George Nash; Mrs. Benton, Fern Emmett.

"CROSS STREETS"— Chesterfield.— Screen
play by Anthony Coldewey. Directed by Frank R.
Strayer. The cast: Anne Clement, Claire Windsor;
Adam Blylhe, Johnny Mack Brown; Clare Grattan,
Anita Louise: Mori Talbot, Kenneth Thomson; Ken
Barclay, Matty Kemp: Dean Todd, Josef Swickard;
Jerry Grattan, Niles Welch.

"FINISHING SCHOOL"— RKO- Radio.— From
the story by David Hempstead. Screen play by
Wanda Tuchock and Laird Doyle. Directed by-
Wanda Tuchock and George Nicholls, Jr. The cast:
Virginia, Frances Dee; Mrs. Radcliff, Billie Burke;
Pony, Ginger Rogers; MacFarland, Bruce Cabot;
Mr.' Radcliff, John Halliday; Miss Van Alstyn,
Beulah Bondi; Miss Fisher, Sarah Haden; Ruth,
Marjorie Lytell; Madeline, Adalyn Doyle; Billie,
Dawn O'Day.

"GLAMOUR" — Universal. — From the novel
by Edna Ferber. Screen play by Doris Anderson.
Directed by William Wyler. The cast: Victor Banki,
Paul Lukas; Linda Fayne, Constance Cummings;
Lorenzo Yaenli, Phillip Reed; Ibsen. Joseph Caw-
thorn; Nana, Doris Lloyd; Slevie, David Dickinson;
Amy, Peggy Campbell; Dobbs, Olaf Hytten: Sec-
retary, Alice Lake; Grassie, Lita Chevret; Forsyth,
Lyman Williams; Jimmy, Phil Teed; Monsieur Paul,
Luis Alberni; Renee, Yola D'Avril; Miss Lang,
Grace Hale; Prilchard, Wilson Benge; Millie, Louise
Beavers; Landlady, Jessie McAllister.

"HIRED WIFE" — Pinnacle Prod. — Directed
by George Melford. The cast: Vivian Mathews,
Greta Nissen; Kent Johns, Weldon Heyburn; Philip
Marlowe, James Kirkwood; Pat Sullivan, Molly
O'Day; "Dovie" Jansen, Jane Winton; Mrs. Jansen,
Blanche Taylor; Aunt Mancha, Carolyn Gates;
Celesti, Evelyn Bennett.

"HOLD THAT GIRL"— Fox.— From the screen
plav by Dudley Nichols and Lamar Trotti. Directed
by Hamilton MacFadden. The cast: Barney Sul-
livan, James Dunn; Tony Bellamy, Claire Trevor;
Tom Mallory, Alan Edwards; Dorothy Lamonl, Ger-
trude Michael; Ackroyd, John Davidson; McCloy,
Robert McWade; Grandmother, Effie Ellsler; Warren,
Jay Ward.

"HOLLYWOOD PARTY"— M-G-M.— From the
story by Howard Dietz and Arthur Kober. Produced
under personal supervision of Harry Rapf and
Howard Dietz. The cast: Laurel and Hardy, Laurel
and Hardy; Jimmy, Jimmy Durante; Harvey Clemp,
Charles Butterworth; Henrietta, Polly Moran; Lupe,
Lupe Velez; Frances Williams, Frances Williams;
Baron Munchausen, Jack Pearl; Bob, Eddie Quillan;
Linda, June Clyde; Duke, George Givot; Knapp,
Richard Carle; Charley, Ben Bard; Beavers, Tom
Kennedy; Mickey Mouse, Mickey Mouse; and Ted
Healy and his Stooges.

"I'LL TELL THE WORLD "—Universal —

From the story by Lincoln Quarberg and Lt. Comm.
Frank Wead. Screen play by Dale Van Every and
Ralph Spence. Directed by Edward Sedgwick. The
cast: Brown, Lee Tracy; Jane, Gloria Stuart;
Briggs, Roger Pryor; Prince Michael, Onslow Stevens;
Ferdinand, Alec B. Francis; Slrunsky, Lawrence

Grant; Adolph, Herman Bing; Hardwick, Willard
Robertson; Aviator, Hugh Enfield; Dancing Girl,
Dorothy Granger; Marshall, Leon Waycoff; Joseph,
William Von Brincken; Kurtz, Edwin Mordant;
Otto, Arthur Stone; Trapper, Edward McWade;
Le Gendrc, John Dilson; New! Editor, Selmer Jackson.

"MANHATTAN LOVE SONG"— Monogram.-
From the novel by Cornell Woolrich. Adapted by
Leonard Fields and David Silverstein. Directed by
Leonard Fields. The cast: Williams, Robert
Armstrong; Jerry, Dixie Lee; Wetherby, Franklin
Pangborn; Annette, Nydia Westman; Carol, Helen
Flint; Phineas, Harold Waldridge; Pancake Annie,
Cecile Cunningham; Guslave, Herman Bing; Joe
Thomas, Harrison.Green; Sam, Edward Dean.

"MELODY IN SPRING""— Paramount.— From
the story by Frank Leon Smith. Screen play by
Benn W. Levy. Directed by Norman McLeod. The
cast: John Craddock, Lanny Ross; Jane Blodgell,
Ann Sothern; Warren Blodgett, Charlie Ruggles;
Mrs. Mary Blodgett, Mary Boland: Wesley Preble,
George Meeker; Suzuki, Wilfred Hari; Anton, Wade
Boteler; Konrad, William J. Irving; Wirt, Herman
Bing; Mrs. Shorter, Norma Mitchell; Suzan, Joan
Gale; Suzanna, Jane Gale; Suzelte, June Gale.

"MODERN HERO, A"— Warners.— From the
story by Louis Bromfield. Screen play by Gene
Markey and Kathryn Scola. Directed by G. W.
Pabst. The cast: Pierre, Richard Barthelmess;
Joanna, Jean Muir; Hazel, Dorothy Burgess; Mme.
Azais, Marjorie Rambeau; Leah, Florence Eldridge;
Elmer, Theodore Newton; Young Pierre, William
Janney; Claire, Verree Teasdale; Mueller, Hobart
Cavanaugh; Flint, Arthur Hohl; Aunt Clara, Maidel
Turner; Ryan, J. M. Kerrigan.

"NO RANSOM"— Liberty.— Suggested by the
story "The Big Mitten'' by Damon Runyon. Con-
tinuity by Albert DeMond. Directed by Fred New-
meyer. The cast: Barbara Winfield, Leila Hyams;
Tom Wilson, Phillips Holmes; Romero, Jack LaRue;
John Winfield, Robert McWade; Mrs. Winfield,
Hedda Hopper; Bullelt, Yince Barnett; Eddie Win-
field, Eddie Nugent; Woolcott, Carl Miller; Heinle,
Irving Bacon; Budge, Christian Rub; DeWitl, Gary
Owen: Miss Price, Fritzi Ridgeway; Mrs. Smithers,
Mary Foy.

"ONE IS GUILTY"— Columbia.— From the
story by Harold Shumate. Directed by Lambert
Hillyer. The cast: Trenr, Ralph Bellamy; Sally,
Shirley Grey; Walters, Warren Hymer; Lola Deverous,
Rita LaRoy; Jack Allan, J. Carrol Naish; Toledo
Eddie, Wheeler Oakman; Miss Kane, Ruth Abbott;
Wells Deverous, Willard Robertson; Pop Dailey,
Ralph Remley; William Malcolm, Vincent Sherman;
Danny, Harry Todd.

"QUITTER, THE"— Chesterfield.— From the
story by Robert Ellis. Directed by Richard Thorpe.
The cast: Ed Til ford, Charley Grapewin; Cordelia
Tilford, Emma Dunn; Russell Tilford, William Bake-
well; Diana Winthrop, Barbara Weeks; Winlhrop
Hale Hamilton; Eddie Winthrop, Glen Boles;
Annabelle Hibbs, Mary Kornman; Zack, Lafe McKee;
Hannah, Aggie Herring; Sister Hooten, Jane Keckley.

"SIDE STREETS "—First National.— Based on
the story "Fur Coats" by Ann Garrick and Ethel
Hill. Screen play by Manuel Seff. Directed by Alfred
E. Green. The cast: Bertha, Aline MacMahon; Tim
Pederson, Paul Kelly; Mary, Patricia Ellis; Mazie,
Mayo Methot; Tillie, Helen Lowell; Ray, Paul Kaye;
Mrs. Thatcher, Marjorie Gateson; George, Henry
O'Neill; Mrs. Richards, Dorothy Peterson; Marguerite,
Ann Dvorak; Ilka, Dorothy Tree; Jack, Clay Clement;
Mabel, Renee Whitney; Helen, Lorena Layson; Mad-
eline, Lynn Browning.

"STAND UP AND CHEER"— Fox.— Story
idea by Will Rogers and Philip Klein. Screen play
by Lev.- Brown and Ralph Spence. Directed by
Hamilton MacFadden. The cast: Lawrence Crom-
well. Warner Baxter; Mary Adams, Madge Evans;
Shirley Dugan, Shirley Temple; Jimmy Dugan,
James Dunn; Sylvia Froos; Sylvia Froos; John Boles,
John Boles; John Harly, Arthur Byron; Secretary to
President, Ralph Morgan: Aunt Jemima, Aunt
Jemima; Senators Danforth and Short, Mitchell and
Durant; Nick Foran, Nick Foran; Dinwiddle, Nigel
Bruce; H ill-Billy, "Skins"' Miller; Slepin Fetchit,
Stepin Fetchit.

"3 ON A HONEYMOON""— Fox— From the
novel "Promenade Deck" by Ishbel Ross. Screen
play by Edward T. Lowe and Raymond Van Sickle.
Adapted by Douglas Doty. Directed by James
Tinling. The cast: Joan Foxier, Sally Eilers; Alice
Mudge, ZaSu Pitts; "Ma" Gillespie, Henrietta Cros-
man; Dick Charlton, Charles Starrett; Millirent Wells,
Irene Hervey; Chuck Wells, John Mack Brown;
Ezra MacDuff, Russell Simpson; Phil Lang, Cor-
nelius Keefe.

"TRUMPET BLOWS, THE"— Paramount.—
From the story by Porter Emerson Browne and J.

Photoplay Magazine for June, 1934

Parker Read. Jr. Directed by Stephen Roberts.
The cast: Manuel Monies, George Raft; Pancho
Gomez, Adolphe Menjou; Senor Monies. Adulphe
Menjou; Chulila, Frances Drake; Pepi Sancho,
Sidney Toler; Citato, Edward Ellis; Carmela Ramirez,
Nydia West man; Senor Ramirez, Douglas Wood;
Senor a Ramirez, Lillian Elliott; Lupe, {Catherine
DeMille; Vega, Francis McDonald.

"TWENTY MILLION SWEETHEARTS"—
First National. — From the story by Paul Finder
Moss and Jerry Wald. Screen play by Warren Duff
and Harry Sauber. Directed by Ray Enright. The
cast: Clayton, Dick Powell; Rush, Pat O'Brien;
Peggy, Ginger Rogers; Pete, Allen Jenkins; Brotkman,
Joseph Cawthorn; Sharpe, Grant Mitchell; Marge,
Joan Wheeler; Tappan, Henry O'Neill; Secretary,
Johnny Arthur; Mrs, Brockman, Grace Hale; also
Four Mills Bros, and Ted Fio-Rita and Band.

"UPPERWORLD"— Warners.— From the story
by Ben Hecht. Screen play by Ben Markson. Di-
rected by Roy Del Ruth. The cast: Alex Stream,
Warren William; Mrs. Hallie Stream, Mary Astor;
Lilly hinder. Ginger Rogers; Chauffeur, Andy Devine;
Tommy, Dickie Moore; Marcus, Ferdinand Gott-
schalk; Commissioner Clark, Robert Barrat; Colima,
J. Carrol Naish; Rocklin, Theodore Newton; Cald-
well, butler, Robert Greig; Officer Moran, Sidney
Toler; Capt. Reynolds, Willard Robertson; Jerry
McDonald, Mickey Rooney; Chris, T. M. Qualen;
Banker, Henry O'Neill.

"VERY HONORABLE GUY, A"— First Na-
tional.— From the story by Damon Runyon.
Adapted by Earl Baldwin. Directed by Lloyd
Bacon. The cast: Feet Samuels, Joe E. Brown;
Horlense, Alice White; Dr. Snilzer, Robert Barrat;
The Brain, Alan Dinehart; Mrs. Hathaway, Irene
Franklin; Benny, the dip, Hobart Cavanaugh; Joe,
Harold Huber; Mindy, Joe Cawthorn; Moon O'Hara,
Arthur Vinton; Mrs. Fciblebaur, Ann Brody; Al, Ai
Dubin; Harry, Harry Warren; Red Hendrickson,
Geo. Pat Collins; O'Toole, James Donlan; Colored
man, Snowflake; Ten Pass Charlie, Harry Seymour.

"VOICE IN THE NIGHT"— Columbia.— From
the story by Harold Shumate. Directed by Charles
C. Coleman. The cast: Tim Dale, Tim McCoy;
Barbara, Billie Seward; Robinson, Joseph Crehan;
Bob, Ward Bond; Jack, Kane Richmond; Matthews,
Frank Layton; Benton, Guy Usher; Jackson, Francis
McDonald; W. T. Dale, Alphonz Etliier.

"WILD CARGO"— RKO- Radio.— Based on

the book by Frank Buck and Edward Anthony.
Directed by Armand Denis. Photography by
Nicholas Cavaliere and LeRoy Phelps.

"YOU'RE TELLING ME" — Paramount —
From the story by Julian Street. Screen play by Walter
DeLeon and Paul M. Jones. Directed by Erie Ken-
ton. The cast: 5am Bisbee, W. C. Fields; Pauline
Bisbee, Joan Marsh; Bob Murchison, Larry "Buster"
Crabbe; Princess Lescaboura, Adrienne Ames; Mrs.
Bessie Bisbee, Louise Carter; Mrs. Murchison, Kath-
leen Howard; Doc Beebe, James B. "Pop" Kenton;
Charlie Bogle, Robert McKenzie; President of Tire
Co., George Irving; Frobisher, Jerry Stewart; Mayor,
Del Henderson; Mrs. Price, Nora Cecil; Crabbe,
George MacQuarrie; Gray, John M. Sullivan; Phil
Cummings, Alfred Delcambre; Caddy, Tammany
Young; Mr. Murchison, Frederic Sullivan; Postman,
William Robyns.

The cameraman cuts in. Cary Grant

and his wife, Virginia Cherrill, stop

dancing just long enough to smile

for a picture

Charming Homes By-the-Day

A three-room residence, high over Central Park . . . with a magnifi-
cent view of the rivers and New York from two exposures. Furnished
and arranged in the private-home manner. Living-room. Master
bedroom with boudoir dressing-room. Guest bedroom and bath.
Maid's room and bath. Wardrobe closets. Serving pantry. A
charming, individual home, for enjoyable overnight or longer visits.

FIFTH AVENUE AT 59TH STREET • ON CENTRAL PARK • NEW YORK

I24

Photoplay Magazine for June, 1934

Don't Miss a Single Issue of

PHOTOPLAY

Containing the New Interesting Fiction Serial Story

"I WANT A BABY

Take advantage of this very speeial six months1 subscription offer and the
postman will deliver your copy of PHOTOPLAY Magazine to your door
each month.

SIX BIG ISSUES OF PHOTOPLAY,

Your Favorite Magazine, for ONLY $1.00

We don't want any one of our readers to miss a single issue of PHOTO-
PLAY containing this most interesting serial fiction story. We cannot guar-
antee we will be able to supply copies to you if your newsstand should be
sold out; so play safe bv taking advantage of this Special Six Months'
Offer which will insure your receiving the next issue and the five succeed-
ing issues.

SIX ISSUES for the PRICE of FOUR

PHOTOPLAY at the newsstand costs 25 cents per copy — six issues, $1.50.
This special offer of only $1.00 for six months saves you 50 cents and you
will receive your copy of PHOTOPLAY promptly each month when it goes
on sale.

If you missed the first installment of "I WANT A BABY," which ap-
peared in the May issue of PHOTOPLAY, and would like your six-issue
order to include the May issue, just check the square provided in the
coupon and we will send it if copies are still available.

FILL OUT \M) MMI. THL (01 I'ON NOW!

PHOTOPLAY MAGAZINE,

919 No. Michigan Ave., Chicago, III.

Q Currenc)
Enclosed plrav liiul fi.oo □ Money Order for my six months' subscription

□ Cluck
to Photopi vi starting with your next issue.

(Canada and Foreign, six months $1.50)

St- nil to:

\ nine

. Iddress

Slat,

City

□ Check here if you want us to send you the May issue containing the first
installment of the serial story "I WANT A BABY." [PlI-6-34]

SPECIAL

SIX

MONTHS

OFFER

I Want A Baby"

By MARILYN HERD

The second stage of a
remarkable adventure

DECORATIONS BY
FRANK DOBIAS

Synopsis of
First Installment

JOAN RANDOLPH, young
artist, the only daughter of
Cyril Randolph, wealthy New
York banker, is everlastingly
opposed to staid and fixed society
conventions. Her escapades
bring about frequent quarrels
with her father. After one of
these, she goes to the crowded
East Side tenement section to
sketch.

There, sheltering in his shop
doorway from a sudden storm,
Joan meets Michael Storm, now
a children's photographer, once
a carnival concessionaire. Joan
desires to see more of him. As
an excuse, she borrows a baby
from one of Michael's neighbors
and passes it off as her own. She
has a picture taken with the
child in her arms. Michael
hangs it in his outside showcase.
Joan dares not protest.

She and Michael become great
friends. As a result, Joan spends
her afternoons in Michael's
studio, sketching.

One day the photograph is
stolen. Joan's father confronts
her with it and accuses her of an
indiscretion, and adds that he
has secured some damning evi-
dence about Michael. Joan de-
nies any indiscretion but admits

a love for Michael. Her father says she must choose.
She defies him.

Then she realizes she knows little of Michael. Suppose
he is married?

Suppose, as he has indicated, he might return to
carnival life, loving it more than he does her?

A flood of doubts struck down on Joan,

Against this force, she set her love.

"I love you as no woman was ever
loved, but I can't marry you"

PART II

\THER, I intend to
marry Michael Storm,"
Joan's tone was positive
rather than defiant.

Cyril Randolph leaned for-
ward, his chin squared belliger-
ently. "If you do, I'll disown
you."

Joan's lovely body tensed.
Anger swept her, anger so strong
she could have cried with the
hurt of it. No matter what she
might say, her father would not
understand. He had never un-
derstood her, and never would.
With a helpless gesture she
turned and walked to the door.
" Where are you going? " Her
father's tone did not betray his
struggle to fight down sentiment.
" I'm going to Michael Storm,
where I belong!"

"I'll make you regret it as
long as you live. I'll smash that
mountebank, and you'll come
back. I'll do even more. I'll — "
Her quiet but definite closing
of the library door cut off the
rest of her father's threat and
broke the tension of her anger.
Where anger had stood, doubts
came trooping in a crazy dance
to torment her. Only Michael
could dispel them. One little
word from him would bring the
peace for which she yearned.
As she hurried to Michael's studio, the dance of doubts
persisted with tantalizing gyrations. She had told
Michael that "Marjorie" was her baby and that she was
a widow. Would he understand her deception? He had
accepted her for what she pretended to be, when they
agreed that the visits to his studio would be very busi-
nesslike. They would work together, he with his camera,
she with her sketch-pad.

125

But it had been quite different. She recalled with a
rush of warmth those afternoons with Michael in the
quiet, shadowy little studio. When they were alone, and
the gallery of baby photographs smiled down on them
from the walls, and the stern-eyed camera that had
watched them, chaperon-like, during their working hours,
receded into the shadows, they had responded to a tem-
peramental sympathy half intuitive, half inspired. They
had kissed often. The sweetness of that first kiss clung
in her memory. They had thrilled with the intimate
nearness of each
other until many
times desire
threatened to en-
gulf them. Twice,
the tinkle of the
bell, heralding a
customer, had
made them spring
apart. Other
times, Michael
had put her from
him with, "Easy,
Joan."

OVER and over
again they
had affirmed their
love. They had
not bargained.
Marriage had
never been men-
tioned. But as
Joan had sipped
the sweet, heady
juice of courtship,
she had visualized

plucking whole from the tree, the ripe, red fruit of mar-
riage.

She had contrasted the richness of marriage with
Michael with the flat, dull marriages of the snobbery-
governed, living artificially in the hothouse of wealth.
Theirs could be a free, full-bloomed union, thriving on
love alone. Her child — their child — another Michael.

Across the certainty of her love the dancing doubts
threw gigantic, grotesque shadows. Michael might be
married, or the carnival might be his real love. And what
had her father meant when he had said — "If you knew
what else I've found out about Michael Storm, you'd be
ashamed you ever spoke to him"?

When Joan stood in Michael's doorway, just the sight
of him, tall and clean in his bright blue smock, and the
alarm in his voice as he looked at her tragic expression
and cried, "What's up, Joan?" made her ashamed of any
doubts.

"We've got to get married, Michael."

Michael pursed his lips to a whistle.

"As bad as that?" teasingly. Then, his face went
extraordinarily grave. "But, Joan, I can't marry you."

She felt suddenly both scorched and cold, terribly cold.
Her gaze dropped to the floor. She stared at the bare

Michael could add glamour even to breakfast. She pictured him
beneath the stars on a summer night

boards without perceiving them. Michael could not
marry her. She must never see him again.

Her pride sought to pretend it didn't matter. But she
loved him too much. The words broke out in spite of
herself:

"Why not?"

"Good Lord, Joan, don't you know?"
She nodded. Of course, she knew.
Somewhere along the gay trail of the carnival, there
was another woman to whom Michael belonged.

"Why, Joan,
^____ you're the Mc-

Coy and I—"

" McCoy ?"Joan
cut in anxiously.
Michael often
amused her with
flashes of carnival
slang, expressions
salty with the tang
of the midway.
He was not play-
ful now, but in-
tensely serious:
"What do you
mean, Michael?"
"McCoy-the
real thing, genu-
ine, not a phony."
"So what?"
"You're too fine
to be teamed up
with a sideshow
barker," Michael
fiercely inhaled
cigarette smoke.
" I knew what you
were the first time I saw you. I should have sent you
packing then. But — "

"Why didn't you?" breathlessly.
"Because I was crazy about you. Every time you
came, I told myself, 'Just this once.' " He dropped his
hands in a helpless gesture. He stared at her for a long
minute and then said in a tone of quiet resolve: "Well,
this must be the last time!"

"How did you know about me?" Joan asked fearfully.

ON'T I make my living being able to size people

up?" He looked at Joan's old tweed suit and

smiled. "You wore your plainest duds trying to hide

what you really were. But the expensive materials, the

cut — and the tone of your voice, your walk, the way you

carried your head, the touch of your hand, a hundred

little mannerisms told me every day, every moment,

what you were." Admiration burned through his words.

"Why did you pretend that you didn't know?"

"For the same reason I didn't let on when you tried to

pass that baby off as yours. I wanted you to come back."

"The baby is — " Joan could not go on. She had

resolved to tell him all. But now she was sure that

Michael understood all that she had tried to hide.

126

"Joan, I've been photographing babies for years. I
knew right away that 'Marjorie.' as you called the baby,
was a boy!"

Joan's face reddened.

"And the way you handled the baby," Michael smiled
in spite of himself. "Well, that was enough to convince
me that you weren't a mother. I should have said ixnay
then, but I was mad about you from the very start."

"I was that way about you, too," Joan's eyes dropped.

"I didn't know what your game was. I figured I was
a novelty for a girl like you. that after a while you'd get
tired."

"But I haven't."

" T LOVED you, Joan, the day you held that baby in
•■■ your arms," seriously. "I've loved you more each
day I've seen you. And now, I love you too much to let
you in for a lot of grief."

Joan nodded for him to continue.

"I'm poor. All I own in the world is my camera and
equipment, a little money in the bank, and a few pieces of
furniture in my flat upstairs."

He waved away her protest.

"I know what you're going to say. Sure, when you
have everything, poverty sounds romantic. It isn't
romantic, believe me."

He led her to the sofa and drew her down beside him.
He took her hands in his. She felt his grip tighten. His
hands were strong and warm. His dark eyes burned.

"I love you as no other woman ever was loved! I'm
not tied to anybody else. Never was. But I can't marry
you. Some day, you'll thank me."

Her eyes pleaded. He leaned forward. His mouth
pressed hard against her own. For long minutes they
clung to each other. Then, he released her.

"No, Joan! No! It's impossible. You'd better go."
The words jumped out excitedly. He turned away his
head to hide the misery in his eyes.

Joan stood up. She felt the pulse in her throat throb
wildly. She managed a small smile that hurt her mouth,
and proffered her hand.

Maybe, if he really believed she was going —

"Good luck, Joan!" Michael was still avoiding her
eyes and there was anguish in his voice.

She hoped he would stop her. But he didn't.

She shut the door of the studio and walked slowly down
the dark corridor. The talons of a hundred swirling re-
grets dug into her heart. Before the street door, she stood
a moment to get hold of herself. Outside, she saw the
familiar street teeming with meaningless movement.

Her love was so real, so everlasting. She could never
convince herself it had been just an incident. Into those
afternoons with Michael had been concentrated a lifetime
of joy. She should be thankful. But there was no com-
fort in that thought. "I dreamed a dream," she said.
"The dream is over." She closed her eyes tightly to
stem the flood of tears, and fumbled for the door-knob.

"Joan! Joan!"

She opened her eyes upon a strangely tragic Michael.
She flew back along the corridor. She was in his arms.
He was kissing her eyes, her mouth, her throat.

"I can't let you go. I can't!" he was saying over and
over again. His words were even stronger than the
arms about her.

"Maybe, if I work and save — in a few months — in a
year or so "

Her eyes were frank and fearless: "I don't want
money."

"But you've always had plenty."

"We'll manage somehow. We're both young. It'll be
fun, going up together. When we get to the top, we'll
know we did it ourselves."

"But won't you miss ?" And he stopped as if

there were not words enough to tell it all.

"Miss what?"

"Oh, everything."

"Having you, I'll have everything."

" What will your folks say? "

Her father would disown her. She would begin life
with Michael without a penny. To the social set in
which the Randolphs moved, she would be an outcast.
She had faced all the consequences.

"My life is my own, Michael."

"Hadn't we better wait — perhaps a year?"

"And if I said I wouldn't wait another day?"

"What do you take me for?" Michael protested.

"I take you for better or for worse. And if I said I
wouldn't wait another day?" she repeated.

"I'd rush you right down to City Hall for a license,
and we'd be married today."

And that was exactly what he did.

AT eight o'clock next morning, Joan awoke and
stretched luxuriously. She was in a new world.
The wonder of Michael was spread in brilliant tapestries,
brightening the tight little bedroom of Michael's flat.
She was married to the most glamorous, the most tender,
the bravest man in the world. Lovingly, she rubbed the
plain gold band on her finger, and, Aladdin-like, it
brought her treasured memories of her wedding day.

The wrinkled scrub woman outside the Marriage
Chapel in the Municipal Building had cried because she
said they looked so beautiful together, and had waved
good luck to them with her mop.

Michael's reverent kiss after the ceremony and his
whispered, "Mrs. Michael Storm," she'd never forget.

Their honeymoon had started with a trip to the
observation tower of the Empire State Building, a
whim of Michael's, whose purpose he had hidden with
mysterious silence until they stood looking down on the
city glistening golden in the sunset, like a table spread
with royal gifts. Michael's gesture had included all the
splendor before them as he said, "My wedding present."

"The whole world is ours. We must do something
grand with it," she whispered.

"We can, you and I." His hand tightened on her
arm, and they watched the sunset.

On their gay taxi ride up Fifth Avenue, Michael had
pointed out the line of cars which followed them. "Look
at that ! Your wedding parade. What a popular
bride!" And Fifth Avenue had taken on a festive air
with the triumphant procession of Mr. and Mrs. Michael

127

Storm. When they passed the Randolph mansion, the
warmth of Michael's arms contrasted sharply with the
cold, marble-faced house as it frowned out at them on
their way to their wedding dinner.

They dined in a gaudy Russian inn on Second Avenue.
The tables were covered with bright, checkered cloths,
and the walls were painted with round-faced, laughing
peasants in riotously colorful costumes. Joan's happi-
ness was a sauce that made the dishes more savory than
any banquet at the Randolph mansion. They danced
on a tiny polished square to the heady rhythm of
balalaika.

They clinked glasses, filled to the brim with the sacra-
mental wine of lovers, as Michael explained the age-old
ritual of gypsy marriage. While the balalaika strummed,
and the gay peasants smiled down from the walls, Joan
repeated after him the ancient gypsy oath of love.

Time ceased to be. The world stood still. There was
only Michael and she. Solemnly, they clinked their
glasses, and drained the red wine.

When they reached the threshold of his flat, Michael
said, as he opened the door, "Wait, dear, don't move."
Then, he swung her up in his arms and carried her in.
"To our eternal love," he whispered tenderly.

Joan wanted to stay held tightly in his arms forever.
She tossed her handbag gaily across the room, and
begged him never to let her down.

" What can I do to keep your love? "he asked, seriously.

"Love me, Michael. Just love me, always!"

The world had been reduced until it lay within the
circle of their arms, as they murmured tender con-
fessions and mutual avowals.

JOAN awoke first and gazed down at Michael as he
lay there. He was exquisite, handsome, strong. She
thrilled at the elastic warmth of his body that she so utterly
possessed. He stirred at her touch, and smiled up at
her through half-closed lids, and tightened his arms
about her with a drowsy tenderness. She bent her face
down toward his, and entered sleep that brought her to
this sweet awakening with memories of Michael all
about her.

Michael's voice from the kitchen cut into her memories.
He was singing, "This Is My Lucky Day."

She heard the absurd, dear intimacy of clattering
dishes as he prepared breakfast. His song joined with
his footsteps approaching the bedroom door. He rapped
gently, "Awake, dear?"

She sprang from bed, thrilled with the anticipation of
their first breakfast together.

Standing on the oilcloth -covered floor of the little
bathroom, Joan threw back her head and laughed. She
thought of the big marble bath of her own at home, of
the tall built-in shower with its glistening gadgets, its
shelves of imported toiletries. This room could be dropped
into that sunken bath and still leave room for her.

There was no shower. Only a spray on the end of an
uncertain rubber tube. Cold water! The glow that
followed as wonderful, as exhilarating as this great love.

She loved their little flat. Only three rooms, but it
was home. Last night Michael had shown her about,

proudly and tenderly. She had found excitement in
each discovery. The decorative touches were colorful
and glamorous, like Michael. A batik scarf flamed on
the wall, a present to Michael for teaching a Hindu the
mystery of three-card Monte. A Chinese vase, delft
blue with soft, white plum blossoms, mute testimony to
a Chinaman's first principle — gratitude. Two shiny
barkers' canes stood in a corner. An autographed cow-
boy hat, scribbled with the names of "The Ranch X
Gang." There were a number of paintings on the walls,
and though they were copies, each was in good taste.
Joan recognized Franz Hals' "Laughing Cavalier," and
Gerard's "Madame Recamier." Michael had pointed
out the highlights and shadows, as if the artistry of the
cameraman was classic. The shelf of books surprised
her most of all with the quality of Michael's interests.

IV/f" ICHAEL rapped a gay tattoo on the bedroom door.
l~x "The Secretary of the Interior bids Her Royal
Majesty to shake a leg."

He greeted her with a low bow, ushered her cere-
moniously to the bright oilcloth-covered table, seated
her gallantly, and tilted her head for his kiss. The
kitchen sang with the words he whispered in her ear.

Michael could add glamour even to breakfast. Over
the grapefruit, he talked of the citrus groves of Florida,
as she pictured him beneath the stars on a summer's
night after the carnival had closed, wandering off alone
from the drowsy town, beside the fragrant citrus groves.

The tan and golden omelette was the masterpiece of
the gray-haired cook in the carnival mess tent where
Michael had served as a mess boy. Its recipe, he pre-
tended seriously in answering her wide-eyed approval,
was a gypsy secret handed down from generation to
generation. Yes, some day, the secret would be hers.

Joan's appetite was whetted by the morning breeze
that Michael recaptured for her, as he had breathed it,
cool and fragrant from the Piedmont hills of Carolina,
where the carnival had pitched its tents. The aroma of
his coffee made her forget it had been brewed on the
huddling range.

"Please teach me to cook, Michael. I feel so useless."

"I'll teach you more than cooking — happiness you
haven't dared dream of." His eyes were bright with
promise. He kept that promise.

They worked together, long hours in the studio, she
with her sketch-pad, Michael with his camera, each hour
a golden stone polished with love, fitted into a dream
pattern, and cemented with understanding. Joan told
herself often that what they were building together could
never be destroyed.

The studio doorbell announcing customers tinkled
merrily, often enough to satisfy their small needs and
leave something over to bank. She laughed when she
recalled her father's threat, "I'll smash that mounte-
bank." He couldn't smash Michael. Michael and she
had something his power or wealth could never reach.
That threat belonged to a life which she had only
dreamed, but never lived.

At night, she and Michael closed the studio and
played together.

128

New York was their Wonderland and every walk to-
gether was a new adventure.

They wandered through Central Park and playful
fantasy roamed with them as they discovered new
mystic patterns in the shadows on the reservoir, the
rowboats on the moonlit lake, swirling figures roller-
skating on the Mall, thick crouching groves, automo-
biles whose lights were eyes of giant insects scurrying
along bands of moonlight.

They rode atop swaying buses, along curving Riverside
Drive, and pretended they were nabobs on their camels.

On the span of great bridges, they pretended to rock,
as in a hammock, above black waters that were bot-
tomless, as they listened to the muffled hum of the city
breathing in sleep.

Five cents to board a ferry-boat admitted them to the
royal barge that drifted down the Nile, while Michael
spun fables of gypsy adventure and Oriental lore as
Joan sat, wide-eyed, at his side.

The New York she came to know was a Wonderland
compared to the staid propriety of Fifth Avenue, arti-
ficial night clubs, upholstered theaters and starchly-stiff
social functions. Adventurous discoveries waited for
them in queer, out-of-the-way places— the foreign mar-
kets, the Bowery, the river front, the Night Court, the
Ghetto and Chinatown.

They stood before shop windows and pointed out gifts
they would give each other when they were rich.

Arm in arm, they were so radiantly happy that passers-
by looked after them, wonderingly.

Joan grew so unspeakably happy that at times it
seemed almost more than she could bear.

AND the coming of their baby would open a door
to even more wonderful vistas of happiness.

When she told Michael, he took her in his arms and
she read joy in his eyes. She read, too, his concern for
her.

"Don't worry, Michael," she assured him, and play-
fully rubbed out the frown between his brows.

"Weil have to save now, more than ever."

"It'll be fun. And do you know — I've a hunch the
baby will bring us luck."

"Sure it will," Michael said, soberly. Fear for her
gripped his heart.

"I want a baby, Michael."

Eagerly, Joan shopped for flannel, for lawn, for wool,
for lace. She sewed her purchases into little absurd
bonnets, tiny dresses, bands and creepers. It was a
thrilling task, despite pricked fingers, at first so clumsy
with a needle.

It was a thrill, also, to budget pennies carefully, ex-
periencing fresh delight at every extra penny saved.
She laughed often as she compared the reckless spending
of Joan Randolph with the saving of Mrs. Michael
Storm, rescuing pennies with extravagant care.

No cloud shadowed the sky of their happiness until
one morning Joan called excitedly from the doorway

"Michael, come quickly!"

Across the street, above the vacant store where ex-
tensive alterations had been in progress for weeks,

workmen were stretching a great banner. Glaring red
letters on a white background announced:

"THE MODERN STUDIO WILL OPEN HERE
AUGUST 15TH. EXCEPTIONAL WORK AT
MODERATE PRICES. FREE PHOTOGRAPHS
AND SOUVENIRS TO FIRST FIFTY CUS-
TOMERS."

"Looks like we're in for a battle," Michael admitted.

"It won't last long." Joan saw the set of Michael's
jaw and the flash of his eyes. "You were here first.
Everyone likes you." She tried desperately to be calm.

"Friendship can't stand against cut prices," said
Michael, tersely.

Suddenly, Joan turned and clung to him. "I'm
afraid," she said in a small voice. "What will you do?"
She could not catch the fear that reached into her words
and made them tremble.

"Weil see. Don't worry, darling." He patted her
shoulder reassuringly, but turned away his head to
hide the uncertainty in his eyes.

The blazing banner was a challenge that echoed
through the days which brought imposing shipments of
equipment, show-cases, painted background scenes, huge
developing tanks, an intricate electric display and a
curling red neon sign — like so much ammunition to the
fort across the street. Ammunition for the struggle that
threatened their happiness, Joan gave Michael in ex-
pressions of love that left her lips tingling.

The neon sign with its red glare flooded their flat, and
grinned at Joan in her dreams with ugly menace. By
day, the great banner waved threateningly.

Boastful handbills flooded the neighborhood heralding
the opening of the Modern Studio. Curious crowds
gathered to inspect the displays.

The morning of the opening, a brightly-uniformed
band paraded the neighborhood behind a gaily-postered
ballyhoo truck, mustering the crowd to milling hundreds.
By noon, the street was packed, and policemen opened
a lane for traffic. The band played until the stroke of
one, when the doors were thrown open, and the first
fifty customers fought their way through the portals.
One of the plate glass windows was smashed, but still
the crowd milled about.

OOK at this, Joan," Michael handed her the bright

-■— ^and boastful handbill listing prices of their com-
petitor.

"K their prices were much cheaper, they'd be giving
photos away."

"They can't last long with those prices."

But it lasted long enough to make Michael's studio
doorbell tinkle less and less. Two weeks went by with-
out a customer.

"It has me puzzled, Joan," Michael said one evening
after dinner, as he leaned across the table and patted
Joan's hand. "Expert work at give-away prices. Wbat's
the gimmick?"

"The gimmick?"

"The trick, the catch," answered Michael with a
smile for Joan's imitation of his carnival lingo.

Joan knew.

120

She had read her father's threat, "I'll smash that
mountebank," on the banner of the Modern Studio.
The tactics of their competitor were those of Cyril
Randolph. She saw him behind every move as clearly
as if he stood across the street threatening her and
Michael. Cyril Randolph was ruthless.

Joan had seen strong men come from his conferences
with dull eyes and white lips that spoke defeat. Maga-
zine stories, with many deferential references to Ran-
dolph strategy, tactics and maneuvers, extolled him
as conqueror of a business empire. Interviews quoted
his terse, metallic sentences, which clicked off pre-
dictions on the fate of less powerful competitors. Cyril
Randolph smashed those who dared oppose his will.

"Michael, my father is behind all this. When I left
home, he said he would smash you. That studio is a
club in his hand."

Michael's jaw tightened. "I suspected as much."

"Darling, he has money enough to "

"He'll get a run for his money," Michael cut in
quickly. "Let's plan our campaign."

Their council of war ended with Joan's suggestion,
"Buy some new equipment, Michael. A new display
case and a new sign, and go after them."

He looked searchingly at her. " That means spending
what we've been putting away for the baby!"

"It's the only way. We'll manage, somehow."

Michael Storm's handbills carried the news of his
campaign through the neighborhood, while he person-
ally solicited old customers. Soon, the tinkling bell of
his studio was in a happier key.

The Modern Studio retaliated with another drastic
cut in prices.

Joan brought the suggestion for Michael's return shot.
With flashing eyes she announced. "There's a way to
beat that cut-throat competition. Offer to every cus-
tomer a pencil sketch, free. I'll do them. My sketches
will be a novelty that will bring trade."

"But, darling, the strain of that would be too much
for you now."

"Don't worry about me. I'd love to do it. This is
my battle as much as yours."

JOAN'S pencil sketches, given free, revived trade
until a new blast of handbills from across the street
announced that the Modern Studio was offering a gilt
frame — free — to every customer.

Michael's appeal to the parish priests in the neighbor-
hood for first communion pictures brought business that
tided them over for a few more weeks.

Cyril Randolph was only prolonging their agony. He
could have crushed Michael at the outset, but the
crushing would be all the more effective when Michael's
energies had been sapped with hopeless struggle. Now,
he gave the signal for the final blow which would dry
up business in the neighborhood for months to come.

Grocers and butchers and market proprietors were
given Modern Studio coupons, entitling their customers
to a dozen free photographs.

"That cleans up the neighborhood, Joan," Michael
admitted reluctantly.

"We're not beaten yet!" Joan answered with feigned
confidence.

" What do you suggest? "

Joan had been considering the possibility of appealing
to her former friends. A note to Una Townsend, ex-
plaining everything, would bring enough business to
tide them over for months. Una had been her friend
at finishing school, and her trusted confidante whenever
she needed help. Una would be glad to help now.
Eagerly, she proposed the suggestion to Michael.

"That's out! R we can't win without help from the
other camp, we won't win!"

It was just what Joan hoped he would say.

HP HE installments on their new equipment had ex-
*■ hausted the little sum saved against the time of
Joan's confinement. And now, when another payment
came due, they could not meet it. The collector and
the studio landlord arrived together, one with a dis-
possess notice, the other with a writ that took away the
new equipment.

They watched the landlord lock the studio and snap
the padlock on the door. When the door closed grimly,
locking away the golden hours they had spent there
together, Joan's hand reached for Michael's. Slowly,
they climbed the stairs to the flat. That, at least, was
theirs for another month.

"I can just see Cyril Randolph, waiting for you to
come running home, waving a flag of truce," Michael
said grimly.

" Well, he'll wait until there's a thick coating of ice over
a place called hell," answered Joan bitterly. "We may
be licked, but "

"But we're not licked!" Michael interrupted.

"Why, don't you realize no matter where you open a
studio, he'll do just what he did here, and do it more
quickly?"

"I'll go where he can't do that."

Joan's face blanched at the thought that Michael
meant the carnival. He had discussed the possibility
of returning there as a last resort.

"You bet we're not licked. I still have that old
camera Pop Brady left me."

"But where will you go?" Joan dreaded the answer.

"Why, to Central Park. I don't need a studio there.
The park is crowded with kids these days. If I can
dodge the cops, I'll get enough business, just as I used
to go after it when things were dull on the midway."

"And you won't need a studio? " happily.

"I'll develop the plates at night here in the flat."

"I'll help you."

He kissed her tenderly. "No, dear. You take it
easy. Save your strength, you're going to need it."

Cradled in Michael's arms, Joan's fears receded. He
would not have to return to the carnival. And as long
as those strong arms were there to hold her, she was
confident.

The acres of the park bloomed with children. The
tall, witty photographer, who posed them cutely against
cages in the zoo, or as they fed popcorn to the ducks in
the lake, or rode in the pony carriage, or on the carousel,

130

found many excited customers. Admiring parents
readily signed orders, and Michael sang at night in the
little flat while he developed the plates.

With his camera on his shoulder, Michael trudged the
paths of Central Park. A song was in his heart. The
shrill voices of children at play was music to his ears.

From morning until the sun dropped behind tower-
ing apartments, Michael was busy. Here in the open,
beneath the blue sky-tent, the former carnival photo-
grapher felt no fear of Cyril Randolph. Here, there
was no landlord to harass him. No ruthless competitor
to stifle him.

He escaped the only menace until one afternoon when
he was posing a starry-eyed little girl astride a fat pony,
telling her that she looked like a fairy princess racing
along a silver path with the wind singing in her ears the
gypsy song that Michael hummed for her.

He coaxed the little girl's smile and adjusted his
camera. "Ready now. Just imagine that you're racing

along through the forest and " Michael felt a hand

on his shoulder, and a gruff voice said, "Let's see your
license. You can't take pictures here without a license."

Michael turned to face the park policeman who tried
not to notice that the little circle of children huddled
about Michael, as if to protect him.

Agile retort to minions of the law is a carnival man's
stock-in-trade. Knowing your man is more useful on a
carnival lot than knowing your law. Quickly, Michael
sized up Policeman Callahan. He fumbled in his
pockets, but his mind did not fumble as he gave the
Irish cop his best smile.

Callahan noticed Michael's incredibly worn shoes, the
baggy trousers, the frayed shirt cuffs and, particularly,
Michael's brave smile and the resentment in the staring
eyes of the children. Almost before he realized it, he was
enjoying Michael's collection of pictures, and a hundred
happy faces begged him to be lenient. Yes, indeed! He
had kids of his own, six, and another on the way. Michael
and he discussed new babies, Policeman Callahan's and
his prospective baby. They talked, too, of much that
was going on against the law that needed the attention
of efficient policemen like Callahan. Interfering with
the happiness of children was too small a job for such
as he. Indeed, it was !

SOON, the red-cheeked, grinning, blue-coated figure
was posing in the circle of children. The camera
clicked, and Michael promised enough copies of the
photograph for each of Policeman Callahan's children.

There was no more trouble about a license, and Calla-
han kept discreetly in the background while Michael
plied his trade.

When the cold, autumn winds began to sweep children
from the park and the days were shorter, Michael spent
sleepless nights in worry. Where was the money coming
from for the doctor? The time was getting short.

There were moments when Joan had to fight torment-
ing doubts. Moments alone in the little flat when the
sharp edges of hardship cut so deeply she winced with
pain. The first full glow of romantic excitement had passed,
leaving the flat drab, and the fire-escape-tangled areaway

ugly and prison-like. She had not told Michael of the
letter which came last week from her father. It was
typed on the formal stationery of his office and its tone
was coldly businesslike. She had read:

"By this time you are no doubt convinced of your
mistake, and realize it was just another of your esca-
pades. You don't belong where you are. When you
are ready to get out of the mess you are in, let my
office know, and my lawyer will arrange. I am going
to London on business, and when I return, I hope you
will have come to your senses."

Perhaps it would be better to plead just once with her
father, if not for her sake and Michael's, then for the
baby's. She had torn the letter into pieces and watched
it snow down on the areaway. It was not as easy to get
rid of her doubts. But Michael's arrival always brought
her strength.

"This cold weather keeps the kids out of the park,"
he told her as he rubbed warmth into his numbed fingers
over the kitchen stove. " I miss them. I still see plenty
of pet dogs around. If every dog was a kid, I'd still be
busy."

"Michael, don't be so hard on the dogs," she said
playfully.

"You know how I feel about them."
" Did it ever occur to you that they might bring busi-
ness? Many a woman would pay generously for the kind
of picture you could take of her pet dog."

Michael made a wry face. Then, he pondered the
suggestion. "That's a good idea. I'll start the Dog
Days tomorrow."

WEALTHY women were delighted to have their
dogs photographed by the gallant, dark-eyed
young man who deftly mixed subtle flattery for them with
praise for their pets. And some were more concerned
about their pose than about their dog's as they faced the
camera and the romantic figure of Michael.

It was while he photographed her silky russet-haired
Pekinese, Trixi, that Michael won the interest of Mrs.
Clarendon Stykes. Any one who read the society pages
would recognize Mrs. Clarendon Stykes, the beautiful
young wife of an elderly banker, and those who read the
gossip columns could add suspicion to recognition.
Michael needed neither to understand Mrs. Stykes.

After that first meeting, Mrs. Stykes more and more
regularly stopped to talk with Michael, always, however,
on the pretext that she wanted another picture of Trixi.
Michael begrudged her precious moments taken for idle
chatter. With the days shortening, he had to hurry
feverishly to get in his quota of pictures before dark.

"But Trixi's had more poses than a screen star," he
told her with a wide grin that took the sting from his
words. He wanted to tell her that he was not the least
bit interested in what she had to tell him about her trips
abroad, her winters in Palm Beach, and her summers in
Maine. "But I want another picture of Trixi." Her
tone implied, as her black eyes looked Michael over from
head to foot, that she always got what she wanted.

Trixi's paws, and Michael's hands and Mrs. Stykes'
gloved fingers became very tangled.

131

"I like your work. It shows feeling and understand-
ing. I want you to photograph some interiors of my
home."

"My prices are high for that kind of work."

"You'll get what you want." Her pouting smile
was very frank. She had made up her mind about what
she could make Michael want.

At the entrance of her apartment on Park Avenue,
she told him carelessly, "Don't mind about the interiors
today. Just come in and talk to me. I've been thinking
a lot about you. I'd like to see you in your own studio."

"So would I," said Michael with a grin.

"My interest in you — your studio — is rather selfish."

"Selfish?"

THOUGHT we might open a studio together. And

-1 perhaps share the profits. There will be profits. Be-
sides, I want a hobby. My days are rather empty. My
husband is away most of the time." Beneath her cool
comment about her husband ran an echo of bitterness.
Michael could guess that she tolerated him only for the
closets of fine clothes and rare jewels nestling in velvet
homes. Mrs. Clarendon Stykes had paraded right out
of the tinsel of the " Follies" into the goldleaf of the
Stykes' fortune.

"Why pick photography as a hobby?"

"It's one of the new arts. Don't you think so?"
Without waiting for Michael's answer, she explained that
it was her idea to be the invisible partner in the studio.
She would send customers. There were things he could
teach her about his art.

"And it would be all very exciting."

Michael went beneath her words. He read correctly
the petulant droop of her full mouth, the passionate
light in her dark eyes and the nervous movements of
her delicate hands. He knew her offer for what it was.

"Now, you think it over carefully. I'll be away for a
few weeks. When I come back, we'll conclude arrange-
ments."

"Shall I come here?"

"Yes, call me about the fifteenth."

The days grew shorter, and cold winds swept across
the park. Business dwindled to almost nothing.
Workmen boarded up the carousel, piled the rowboats in
sad, gray tiers around the lake. Winter was approach-
ing swiftly. It was almost time for Joan's baby.

Joan's slim young figure had rounded to maturity
which carried a sweet promise. She would lie at night
with Michael's arms about her and lovingly visualize
their baby lying in its crib, tucked in with snowy blan-
kets, or its tiny hand curled about one of Michael's long,
vital fingers. Because she believed in prenatal influence,
she thought of Michael's face constantly, hoping to im-
press his beloved features on her baby, and pour into
it the love and courage of their days together.

She worried about Michael. He had grown so thin.
The topcoat he wore was threadbare. He pretended he
had never worn an overcoat. But she knew he had sold
his winter coat to buy food. Her heart ached for him.

"Don't worry, Michael dear. I'm sure the baby will
bring us luck."

"Maybe I'll have to go looking for luck," Michael said
grimly, as he thumbed the pages of " Billboard." He had
just told Joan that the boarding up of the park carousel
reminded him of the carnival packing up to move to a
warmer clime.

Whenever he spoke of the carnival, or turned to the
carnival section of "Billboard," Joan shuddered. To
her, the carnival was a bedecked courtesan, a slim, dark
girl with a wide, luscious mouth, recklessly alive, who
had once enthralled Michael with provoking tricks.

Michael looked up from "Billboard." "Some pretty
good opportunities with carnivals are listed here," he
told her. "Listen to this: 'King Brothers' Greater
Shows — Will book a few more legitimate concessions —
Tintype concession still open.' I've been with that
outfit up North."

"Where is it now?"

"San Antonio, Texas. Carnivals move like the birds
— go South at the first threat of winter — come North
with the spring. I could make enough down there to
tide us over."

"How could you get to San Antonio?"

"Ride the rods."

That meant riding beneath freight cars. Danger
stretched its hand at every turn. A tired arm might slip,
a misplaced step in the dark, a slippery grip on rain-
soaked iron. Joan went weak as she heard the careless
thunder of the freight train. She pictured Michael
lying white and dead. The room became swirling black-
ness.

"I'm sorry, kid," Michael held a glass of water to her
lips. "Don't worry. That's out. Come dear, we
won't talk any more tonight. You're tired. Let me
help you to bed."

BEFORE dawn he awoke to find that Joan was not
beside him. There was a light in the living-room.
He jumped from bed.

"What is it, Joan? Joan, what is it?"

She was sitting on the edge of the couch, her face was
ghastly white. Her lips were bloodless. She was tense
in a spasm of pain.

" I— I think it's begun."

" I'll run for the doctor."

"Don't be frightened," she said. "I'm not." She
pressed his hand to her lips.

Michael hurried into his clothes, and raced away for
the doctor.

Joan lay there, her face flushed. She was no longer
Joan Randolph of Fifth Avenue, escapading debutante,
a thrill-chaser, arguing with a referee in Madison Square
Garden, galloping like mad along the bridle paths.

A greater, breathless adventure was rushing toward
her with the minutes.

Look for the next installment of

"I Want A Baby"

in the July PHOTOPLAY

132

W. F. HALL PRINTING CO.

PHOTOPLAY ANNOUNCES

In JN ew York, you 11 lind
XJ-olly wood Linema X asnions at

Macy's Cinema 5hop

— ana nowhere else in JSewl ovk. The largest store in America was the first to open a Cinema 5hop.
xSarely a year old, Alaey s Cinema Jnop nas been remarkably successful in introducing authentic,
official motion-picture fashions to smart photoplay-goers in the greatest picture town of them all]

TSow you 11 lino Hollywood Cinema Fashions at Alacy s — under JMacy s own registered trade-
mark otar Picture Tashions . Approved by Photoplays
xashion Auditor, you 11 find on each enchanting garment the
name ol the star and the picture in which she wore the
original. And the magical speed with which Hollywood
Cinema Jashions are made enables you to wear the twin of
your Iavonte star s most becoming new frock the very week
that her picture opens on .Broadway! The Cinema ohop is
on Alacy s famous Third Floor. Photoplay cordially invites
you to visit it early and often !

Ohesterfield
Mrs Smith?

Yes, thank you
Mr Smitk !

Internet Archive Audio

Featured

Top

Images

Featured

Top

Software

Featured

Top

Texts

Featured

Top

Video

Featured

Top

Mobile Apps

Browser Extensions

Archive-It Subscription

Save Page Now

Full text of "Photoplay (Jan - Jun 1934)"

See other formats